Ecofeminism - Niji C

Ecoaesthetics and Literature

ètude A Multidisciplinary Research Journal

1 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

PUBLISHED IN INDIA BY The Coordinator, Internal Quality Assurance Cell (IQAC) ètude of the Panampilly Memorial Government College (PMGC) Chalakudy, Potta P.O., Thrissur District, Kerala, India. PIN 680722 A Multidisciplinary email: [email protected] / [email protected] Research Journal http://www.pmgc.ac.in

This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no production of any part may take place without the written permission of the Coordinator, IQAC, Panampilly Memorial Government College, Chalakudy, Kerala, India

Published in January 2015

Managing Editor: Dr. Sreevalsa V.G., Principal

Chief Editor: C.R. Murukan Babu, Coordinator, IQAC

Editorial Board: K. Renuka, Dr. C. C. Babu, Dr. N. A. Jojomon, Dr. Dimpi Divakaran, Dr. B. Parvathy, Dr. N. Sreerekha, Dr. Leena Samuel

Issue Editors: Dr. N. Sreerekha (English), Dr. B. Paravathy (Malayalam), Dr. Leena Samuel (Hindi)

ISSN: 2394 - 6482 Etude

Printed in India by Nirmala Offset Printers, Chalakudy, Kerala +91 480 2701259

Cover design & illustration by Rajiv Babu, CET, Kerala

1 2 Ecoaesthetics and Literature

ètude A Multidisciplinary Research Journal

Special Inaugural Edition on Ecoaesthetics and Literature

Published by IQAC Panampilly Memorial Government College Chalakudy

3 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal Contents ètude A Multidisciplinary FOREWORD 6 Research Journal PREFACE 7

SECTION ONE - ENGLISH 9 Introduction - Dr. N. Sreerekha 1. Eco Feminism - An overview - Dr. Prathibha 13 2. Revivifying Woman-Nature Equations: Politics in the Poems of Sugathakumari - Suja T. V. 19 3. Ecological guild and rapture in Arundhathi Roy’s God of Small Things - Darly Mathew 28 4. An Ecological Musing: Nature / Nature in selected Special Inaugural Edition Malayalam short fiction - Seeja H. 33 on 5. Imagining a Sustainable Utopia out of Contemporary Dystopia: Ecoaesthetics and Literature Reading Gift in Green as a Paradigm of Ecofeminism - Niji C. I. 41 6. Eco- friendly sculptures: An analysis of Andy Goldsworthy’s work using Gaia Hypothesis - Krupa & Geons Jose 47 7. Experiencing Nature, Exploring Life: A Study Based on Autobiographies of Environmental Activists - Praseetha K. 51

SECTION TWO- MALAYALAM 59 ]cn-ÿn-Xn-]-T\w: {]iv\-ßfpw kao-]-\-ßfpw ˛tUm. _n. ]m¿∆Xn 61 8. {]IrXnt_m[-Øns‚ BZym-£-c-ßƒ ˛ tUm. C. DÆn-Ir-jvW≥ 63 9. a\p-jy-\n¬ \n∂v {]Ir-Xn-bn-tebv°v ]cnÿnXn Published by ]T-\-Øns‚ ⁄m\hnjbw------˛ -tUm.- ]n. -hn. -{]-Imiv _m_p 68 IQAC 10. {]IrXn \nXy-Po-hn-X-Øn¬ ˛ ap-c-fo-[-c≥ hn. 72 Panampilly Memorial Government College 11. `mh-\-b√ ˛ Hmtcm hm°nepw tNmc-bp≠v ˛ tUm. Aw_n-Im-kp-X≥ amßmSv 75 Chalakudy

3 4 Ecoaesthetics and Literature Contents

12. F≥a-IsP ˛ aÆn-s‚bpw a\p-jy-s‚bpw \ne-hnfn ˛ jo_ kn.-hn. 78 13. "BXn' apt∂m´p-h-bv°p∂ ]cn-ÿnXn Z¿i\w ˛ A\q]v B‚Wn 83 14. "{]IrXnbpw ]mcnÿnXnImht_m[hpw' sk_mÃys‚ IhnXIfn¬ ˛ jn‚ Pn. s\√mbn 87 15. \K-c-h¬°cWhpw Krlm-Xp-c-Xzhpw : s]ms‰-°m-´ns‚ IY-I-fnse ]mcn-ÿn-XnImht_m[w ˛ tacn doa 92

SECTION THREE - HINDI 99 {…÷Æ˙…‰¥……E¬Ú - b˜…Ï. ±…“x…… ∫……®…÷¥…±… 101 16. {…… Æ˙Œ∫l… i…EÚ“ +…ËÆ˙ ¥…i…«®……x… ÀΩ˛n˘“ ∫…… Ω˛i™… ˛- b˜…Ï. §…“. ¥…V…™… E÷Ú®……Æ 103 17. ÀΩ˛n˘“ EÚ“ ∫…®…EÚ…±…“x… EÚ ¥…i…… ®…Â x…n˘“ +…ËÆ˙ {……x…“ |…n⁄˘π…h… - b˜…Ï. <•…… Ω˛®… E÷Ú]¬ı]ı“ 108 18. ∫…®…EÚ…±…“x… EÚ ¥…i…… ®…Â S… j…i… {…… Æ˙Œ∫l… i…EÚ +¥…§……‰v… -b˜…Ï. Æ˙“x……E÷Ú®……Æ˙“ §…. B±…. 116 19. BEÚ…∆i… ∏…“¥……∫i…¥… EÚ“ EÚ ¥…i…… ®…Â |……EﬁÚ i…EÚ i……x… EÚ“ +x…÷M…⁄ƒV… - b˜…Ï. B. |…™…… 123 20. ∫…®…EÚ…±…“x… Ω˛xn˘“ x……]ıEÚ: {…… Æ˙Œ∫l… i…EÚ {……`ˆ - "GÚ…ÈS…¥…v…' +…ËÆ˙ "EÚ…‰™…±…… S…±…… Ω∆˛∫… EÚ“ S……±…' E‰Ú ¥…∂…‰π… ∫…xn˘¶…« ®…Â -b˜…Ï. {…“. M…“i…… 127

21. ®…ﬁn÷˘±…… M…M…« EÚ“ EÚΩ˛… x…™……Â ®…Â {…… Æ˙Œ∫l… i…EÚ ∫……Èn˘™…«∂……∫j… - Ω‰˛®…… x……Æ˙…™…h…x… 133 22. ∫…®…EÚ…±…“x… ¶……Æ˙i… E‰Ú {…… Æ˙Œ∫l… i…EÚ ∫…∆EÚ]ı E‰Ú ∫…∆n˘¶…« ®…Â "¶……‰{……±… BC∫…|…‰∫…' °Ú±®… EÚ“ ∫……l…«EÚi…… - ®…∆V…÷ ¥…“. B∫…. 138

5 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal Contents Panampilly Memorial Government College, Chalakudy Potta P.O., Thrissur District. PIN. 680722 Email. [email protected] 12. F≥a-IsP ˛ aÆn-s‚bpw a\p-jy-s‚bpw \ne-hnfn ˛ jo_ kn.-hn. 78 13. "BXn' apt∂m´p-h-bv°p∂ ]cn-ÿnXn Z¿i\w ˛ A\q]v B‚Wn 83 14. "{]IrXnbpw ]mcnÿnXnImht_m[hpw' sk_mÃys‚ IhnXIfn¬ ˛ jn‚ Pn. s\√mbn 87 FOREWORD 15. \K-c-h¬°cWhpw Krlm-Xp-c-Xzhpw : s]ms‰-°m-´ns‚ IY-I-fnse ]mcn-ÿn-XnImht_m[w ˛ tacn doa 92 I am extremely happy to note that the first ISSN journal of the college ‘ètude’ is being launched in the Ruby Jubilee year of the college by the IQAC. With the SECTION THREE - HINDI 99 publication of this journal, the college is also entering a new phase in its academic {…÷Æ˙…‰¥……E¬Ú - b˜…Ï. ±…“x…… ∫……®…÷¥…±… 101 pursuits, i.e., publication. It is also very much appropriate that the first issue of 16. {…… Æ˙Œ∫l… i…EÚ“ +…ËÆ˙ ¥…i…«®……x… ÀΩ˛n˘“ ∫…… Ω˛i™… ˛- b˜…Ï. §…“. ¥…V…™… E÷Ú®……Æ 103 ‘ètude’ throbs with serious concerns for the mother earth.

17. ÀΩ˛n˘“ EÚ“ ∫…®…EÚ…±…“x… EÚ ¥…i…… ®…Â x…n˘“ +…ËÆ˙ {……x…“ |…n⁄˘π…h… - b˜…Ï. <•…… Ω˛®… E÷Ú]¬ı]ı“ 108 Wishing all success to the new venture 18. ∫…®…EÚ…±…“x… EÚ ¥…i…… ®…Â S… j…i… {…… Æ˙Œ∫l… i…EÚ +¥…§……‰v… -b˜…Ï. Æ˙“x……E÷Ú®……Æ˙“ §…. B±…. 116 19. BEÚ…∆i… ∏…“¥……∫i…¥… EÚ“ EÚ ¥…i…… ®…Â |……EﬁÚ i…EÚ i……x… EÚ“ +x…÷M…⁄ƒV… - b˜…Ï. B. |…™…… 123 Dr. Sreevalsa V.G. 20. ∫…®…EÚ…±…“x… Ω˛xn˘“ x……]ıEÚ: {…… Æ˙Œ∫l… i…EÚ {……`ˆ - "GÚ…ÈS…¥…v…' +…ËÆ˙ Chalakudy, 08 January 2015 Principal "EÚ…‰™…±…… S…±…… Ω∆˛∫… EÚ“ S……±…' E‰Ú ¥…∂…‰π… ∫…xn˘¶…« ®…Â -b˜…Ï. {…“. M…“i…… 127

5 6 Ecoaesthetics and Literature

Preface

The term ‘ètude’, in French, means ‘study’. It is also an instrumental musical composition designed to perfect a specific musical skill. True to the original meaning of the term, this serial publication titled ètude, is conceived as a research journal meant for the dissemination of new knowledge in multidisciplinary areas – knowledge that is born out of sheer hard work and meditation in academic pursuits.

Multilingual in nature, the inaugural edition of ètude has been set apart for the publication of the proceedings of the two-day seminar under the patronage of the Director of Collegiate Education, Government of Kerala, jointly organized by the departments of English, Malayalam and Hindi from 4-5 December 2014 on the theme of ‘Ecoaesthetics and Literature’ which is one of the fittest themes for the debut of an academic journal as well. It is a vibgyor of scholarly articles on a theme of perennial interest and universal significance.

This first issue of ètude to be released in January 2015, to commemorate the 40th year of the establishment of Panampilly Memorial Government College, Chalakudy, throbs with genuine concerns for the survival of the mother earth and its inhabitants, the humans.

It is hoped that this ISSN monthly journal will go a long way in providing the much needed platform to the members of the fraternity in the higher education sector to realize in black and white their academic goals and endeavours.

With warm regards and good wishes C.R. Murukan Babu Chalakudy, 8 January 2015 Chief Editor

7 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

Preface

With warm regards and good wishes C.R. Murukan Babu Chalakudy, 8 January 2015 Chief Editor

7 8 Ecoaesthetics and Literature

SECTION ONE

ENGLISH

9 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

SECTION ONE

ENGLISH

9 10 Ecoaesthetics and Literature

Introduction Dr. N. Sreerekha

This section incorporates a mosaic of essays related to ecocritical studies. The essays range from ecofeminist readings of selected literary works, autobiographical studies of environmental activists to the novel technique of ecosculpturing. All the essays focus on the interrelationship between the cultural, social and natural spheres of the human domain and express concern over the present crisis, with a troubling awareness that we have reached the age of environmental limits, a time when the consequences of human action are damaging the planet’s basic life supporting systems. Ecofeminism rose as an activist and academic movement that perceives a connection between the exploitation and degradation of the natural world and the subordination and oppression of women. The first essay in the section ‘Eco feminism: An overview’, provides a comprehensive introduction to the concept from its very beginnings to its recent status as a critique of globalization and patriarchal capitalism. The second paper in this section is entitled ‘Revivifying Woman- Nature Equations: Politics in the Poems of Sugathakumari’, the poet activist of Kerala, offers an ecofeminist reading of Sugathakumari’s poems discussing the complex relationship between women and nature as preservers, as embodiments of consolation and comforts lending a healing touch for humanity, women and nature as victims of exploitation, as embodiments of tolerance and forgiveness. The third essay named ‘Ecological Rapture in Arundhathi Roy’s God of Small Things’ probes into the narrative pattern of the novel where nature in the form of Meenachal river is subtly intertwined with the lives of all the characters. The fourth paper entitled ‘Imagining a Sustainable utopia out of a contemporary Dystopia: Reading Gift from the Green’ as a paradigm of Ecofeminism expresses concern for the preservation of nature and the need of creating a sustainable world. ‘An Ecological musing Nature/nature in selected Malayalam Short Fiction’ offers an ecofeminist reading of selected Malayalam short stories. ‘Ecofriendly Sculptures: An analysis of Andy Goldsworthy’s work using Gaia Hypothesis’ unfolds

11 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

a novel concept that posits that the earth is a self regulating complex system involving the biosphere, atmosphere and hydrosphere coupled as an evolving system. The seventh paper in the section is an analysis of the autobiographies of four environmental activists, Mayilamma, Kallen Pokkudan, Dayabhai, and CK Janu whose lives are closely intertwined with nature and the soil.They are representatives of the socially and economically backward classes whose lives Introduction are in constant struggle against all kinds of exploitations and power domination. Dr. N. Sreerekha

11 12 Ecoaesthetics and Literature

Eco Feminism : An Overview

Dr. Prathibha V.

Eco feminism is a social/political movement which points to the co-existence of considerable common ground between environmentalism and feminism. It emerged in the 1970s and 80s as myriad forms of feminist, environmental theories and activisms intersecting each other. The term ‘Eco feminism’ was introduced by Francoise D’Eubonne in the book La Feminiscima ou la Morte (Feminism or Death?) (1974). Some people would like to place it in the third wave of feminism, while some others in the general category of deep ecology, linking deep ecology and feminism. In fact, Eco feminism acts as both and neither of these broad movements, simultaneously serving as an environmental critique of feminism and a feminist critique of environmentalism. Philosophical significance of Eco feminism is that it challenges feminism to take environmental issues seriously, environmental philosophy to take feminism seriously and philosophy to take both seriously. Thus eco feminist insights have a centrality to environment, philosophy and feminism. Just as there is no one feminism, there is no one eco feminism as well. It is the name given to a variety of positions that have roots in different feminist practices and philosophies. Its trajectories are varied and there is no one accepted or orthodox version of eco feminism. It addresses a broad range of urgent, social and political problems like pollution, health and hygiene, species extinction, economic development, militarism, racism, sexual violence and many such. Like all environmentalists feminist ecologists are concerned with human relationships to the natural world and are intent on discovering relationships between humans and non humans as well as among human beings, that contribute to a healing or healthy planet. The major theme

13 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

at work here is the link/parallel between the domination of women and domination of nature; the oppression and subordination of women in families and the society and the degradation of nature through the construction of differences into conceptual binaries and ideological hierarchies that legitimize a systemic justification of domination of subjects classed into higher ranking 1 categories over objects classed into lower ranking categories – Examples are man over woman, culture over nature, white over blacks, humans over animals etc... Eco feminism asserts that all forms of oppression are connected and that structures of oppressions must be addressed in Eco Feminism : An Overview their totality. Oppression of the natural world and of woman by power structures or patriarchal force must be examined together or neither can be confronted fully. Dr. Prathibha V. In New Woman, New Earth, Reuther states that women must see that there is no liberation for them and no solution to ecological problems or crisis within a society, whose fundamental model of relationship continues to be one of domination. They must unite the demands of Eco feminism is a social/political movement which points to the co-existence of considerable women’s movement with those of ecological movement to envision a radical reshaping of the common ground between environmentalism and feminism. It emerged in the 1970s and 80s as basic socio economic relations and the underlying values of the modern industrial society. A myriad forms of feminist, environmental theories and activisms intersecting each other. The central tenet of eco feminism is that the earth and other non humans on earth along with term ‘Eco feminism’ was introduced by Francoise D’Eubonne in the book La Feminiscima ou women, experience the tyranny formed out of the power dynamics of a patriarchal system. la Morte (Feminism or Death?) (1974). Some people would like to place it in the third wave of If we examine the historical trajectories of eco feminism, we see that throughout 1970s, feminism, while some others in the general category of deep ecology, linking deep ecology and there were few eco feminists in academic settings, though several people engaged themselves feminism. in similar theoretical endeavours linking feminist and environmental ideas. Early publications In fact, Eco feminism acts as both and neither of these broad movements, simultaneously that analyze the woman/nature connection in the light of the environmental crisis include Reuther’s serving as an environmental critique of feminism and a feminist critique of environmentalism. New Woman, New Earth 1975), Mary Daly’s Gyn/Ecology (1978) and Griffin’s Woman and Philosophical significance of Eco feminism is that it challenges feminism to take environmental Nature (1978) and Carolyin Merchant’s The Death of Nature (1980). issues seriously, environmental philosophy to take feminism seriously and philosophy to take Some of the early articulated Eco feminism analyzed the patriarchal underpinning in religious both seriously. Thus eco feminist insights have a centrality to environment, philosophy and and philosophical systems of the European and Mediterranean world. Their cultural/geographic feminism. focii surfaced from primarily European and Euro Americans voices that constituted the initial Just as there is no one feminism, there is no one eco feminism as well. It is the name given eco feminist conversations. They proposed that patriarchal cultural structures revolved around to a variety of positions that have roots in different feminist practices and philosophies. Its layers of symbol system that justified domination. For example they interpret the creation stories trajectories are varied and there is no one accepted or orthodox version of eco feminism. It in the Book-of Geneon, foundational for Judaism, Christianity and Islam, as demoralizing both addresses a broad range of urgent, social and political problems like pollution, health and hygiene, women and nature. (Eve and Sveke). species extinction, economic development, militarism, racism, sexual violence and many such. Early eco feminists analysed pre patriarchal culture in the Mediterranean and old European Like all environmentalists feminist ecologists are concerned with human relationships to world as well. It was replete with fertile Goddesses and other nature symbols. Gradually the natural world and are intent on discovering relationships between humans and non humans patriarchal sky Gods replaced Earth Goddesses. Most of the ancient symbols of power were as well as among human beings, that contribute to a healing or healthy planet. The major theme subverted and remytholgised as evil or Chaotic Mother Goddess whose body often birthed or

13 14 Ecoaesthetics and Literature constituted the earth became the target of powerful sky Gods. The pattern of male deities killing female and/or animal deities in an effort to establish patriarchal order repeats itself consistently. Hell was an earth and heaven vanished to sky. Paradise became a masculine hierarchical projection. Whereas organic thinking and inter dependence shaped European life through Middle Ages, the ‘fathers’ of scientific revolutions were determined to dominate nature. A clear cut example of this we can see in Francis Bacon who proposes to “hound nature in her wanderings” in order “to drive her afterwards to the same place again”. - To disclose the secrets of nature Bacon suggested “entering and penetrating into those holes and corners of nature”, which will lead to the uncovering of birth! It should be remembered here that it was during the same period that many European women were accused of witchcraft. The inquisitors were sent to penetrate and torture these so called witches in order to discover their secrets, see the feminine attribute to nature and the parallel violent approaches of control assigned against unruly nature and unruly woman! The period 1980s witnessed a dramatic expansion of eco feminism. Activists movement (same times connected with Academics, but generally outside the academic circuit) also increased. Several foundational anthologies came out during this period such as: Reclaiming the Earth: Women speak out for life on Earth (1983); Healing the wounds: The promise of Europeanism (1989); Reviewing the world: The Emergence of Eco feminism (1999) All there were by Euro American eco feminism. Among there anthologies Healino the wounds: .. appeals for global ecological sisterhood in its foreword, showing the tendency to value inclusivity and difference. But in general most of these works were much criticized for essentializing the woman/nature connection and for over romanticizing culture. One notable contribution and exception in this field is by Vandana Siva, the Indian physicist activist and environmental researcher who published Staying Alive: Women, Ecology and Survival in India (1988). Eco feminists suggest that the antagonism between religion and scientific world views has been detrimentally used by both approaches to advance hierarchical structures. The reductionist models of both western theologies and many western scientific ideologies project a material world that is not sacred but mechanistic. This apparent disconnect between the material and the sacred to be fostered by religion and science has been particularly detrimental when acted upon by Euro American dominant cultures. This hierarchical mechanistic approach to nature was also duly extended to oppression of women.

15 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal constituted the earth became the target of powerful sky Gods. The pattern of male deities During 1970-2000 period Eco feminist activists engaged in myriad protests, boycotts and killing female and/or animal deities in an effort to establish patriarchal order repeats itself campaigns to bring attention to the inter connection of justice issues related to women and consistently. Hell was an earth and heaven vanished to sky. Paradise became a masculine environment as a whole. UN decade for women (175-85) with its many gatherings and Coalition hierarchical projection. building opportunities influenced the development of eco feminism – Issues of Waler Scarats, pollution, deforestation, toxic waste dumps agricultural development and sustainability, animal Whereas organic thinking and inter dependence shaped European life through Middle Ages, rights nuclear weapon polar etc. all led to discussions within the umbrella term of eco feminism. the ‘fathers’ of scientific revolutions were determined to dominate nature. A clear cut example Alongside classism, racism, sexism, specisim naturism all interwined. of this we can see in Francis Bacon who proposes to “hound nature in her wanderings” in order “to drive her afterwards to the same place again”. - To disclose the secrets of nature Bacon Eco feminism thus is a multi faceted multi located challenging structure rather than an suggested “entering and penetrating into those holes and corners of nature”, which will lead to individual one. By confronting system of patriarchy eco feminism broadened the scope for the uncovering of birth! It should be remembered here that it was during the same period that cultural critique and incorporated seemingly disparate but radically connected elements. many European women were accused of witchcraft. The inquisitors were sent to penetrate Combining feminist and deep ecological perspectives is a complex transgressive process that is and torture these so called witches in order to discover their secrets, see the feminine attribute often in flux. to nature and the parallel violent approaches of control assigned against unruly nature and Eco feminist positions reflect varied political stances and usually are transformed through unruly woman! time and place. In other words political alliances and activism stemming from eco feminism The period 1980s witnessed a dramatic expansion of eco feminism. Activists movement modify in relationship to the time and space, justice issues being confronted in differing cultural (same times connected with Academics, but generally outside the academic circuit) also historical settings. Because of this constant morphing eco feminism simultaneously challenges increased. Several foundational anthologies came out during this period such as: patriarchy from different angles and asserts that notion of power must be restructured. Collaborative relationship should be nurtured instead of power dynamics. Eco feminism thus Reclaiming the Earth: Women speak out for life on Earth (1983); Healing the wounds: assumes fluid and radically diverse positions as per the need of the hour and this indeed is one The promise of Europeanism (1989); Reviewing the world: The Emergence of Eco feminism of its myriad strengths. (1999) All there were by Euro American eco feminism. Among there anthologies Healino the wounds: .. appeals for global ecological sisterhood in its foreword, showing the tendency to When patriarchal structures justify their domination through categorical dualistic hierarchies value inclusivity and difference. But in general most of these works were much criticized for like heaven/earth, mind/body, male/female, human/animal, culture/nature, spirit/matter etc.., essentializing the woman/nature connection and for over romanticizing culture. One notable established oppressive systems continue to manifest their abusive powers by reinforcing contribution and exception in this field is by Vandana Siva, the Indian physicist activist and assumptions of these binaries, even making them sacred through religious and scientific environmental researcher who published Staying Alive: Women, Ecology and Survival in constructs. India (1988). Eco feminism positions that as long as any of these dualisms exist as an integral component Eco feminists suggest that the antagonism between religion and scientific world views has of societal structuring and justification, they will all continue to serve as starting points to justify been detrimentally used by both approaches to advance hierarchical structures. The reductionist patriarchy. Therefore all dualisms and binary oppositional forms must be dismantled, otherwise models of both western theologies and many western scientific ideologies project a material humanity will remain divided against itself. As a justice advocate for the entire web of life, eco world that is not sacred but mechanistic. This apparent disconnect between the material and feminists resist dividing culture into these embedded separate or dualistic arenas. Eco feminism’s the sacred to be fostered by religion and science has been particularly detrimental when acted constructive world view replaces hierarchical dualisms with radical diversity and relationships upon by Euro American dominant cultures. This hierarchical mechanistic approach to nature modeled on both biodiversity and the new feminist emphasis on the strength and recognition of was also duly extended to oppression of women. difference.

15 16 Ecoaesthetics and Literature

Well, that reminds one of the issues of racism within eco feminist and feminist dialogues. Though said to pay significant attention to diversity, white eco feminists have often essentialized racial differences. The very designation ‘White’ and ‘Of color’ with reference to women seems to maintain a binary within eco feminism, as it tries to subvert all these. Another outcome of issues connected with racism is the critique of the very label ‘eco feminist’ by various activists from among indigenous women and women of Color. African American women concerned with ecological issues would rather like to call herself an ‘eco-womanist’. Black/indigenous women identify racism as the first and most dominant oppression in their experience. They feel that their political alliance need to shift from a feminist agenda to one more directly engaging issues of race and class. This complexifying of interconnected oppression as a central lenient of eco-feminism continues to arise within the varieties of eco-feminism itself. Similarly globalization of all aspects of environment has also began to shift the momentum of eco-feminism. Though limited, eco-feminism gives a useful framework to critique globalisation. Eco feminists identify globalization as an outgrowth of patriarchal capitalism which according to them is the locus of social and environmental crisis. They explore the impact of globalization in many ways – the changing concepts of state, neocolonization of patriarchal capitalism, globalization as damaging diversity and the feminisation of poverty. So also post colonial eco-feminists focus on the inter section of post colonial and environmental issues. Many critics from deep ecology asserts that post colonialism is inherently anthropocentric and ecological concerns are secondary to other discourses that have historically contributed to racial discrimination – Eco criticism is said to ignore the history of colonialism giving rise to ‘universal’ environmental and ethical concerns. It is important to bring the two together so that continuing imperialist modes and colonialist attitudes of social and environmental dominance can be challenged. Where it comes to Material Eco feminism there is this attempt to shift the emphasis of analysis from ‘naturalising’ difference to analyzing the material forces that shape the relationship between women, men and nature, in an attempt to sidestep the problems of essentialism and exclusion. Women’s product labour is excluded from formal economy. Women life is an alternative reality and have a different relationship with nature. Time is not commodified in female social experience – their work is of 24 hrs, pertaining to life affirming organic practices such as child rearing, caring, creating home and community. It is believed that this allow women the privilege of embodying the aspects of culture that are still firmly rooted in nature and therefore women are qualified as historical agents who can liberate human and the natural world from immanent crisis.

17 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

Well, that reminds one of the issues of racism within eco feminist and feminist dialogues. In the same vein we can talk about cultural eco feminism and spiritual eco feminism too. Though said to pay significant attention to diversity, white eco feminists have often essentialized As eco feminism continue to shift and slow, various positions will surely surface, while some racial differences. The very designation ‘White’ and ‘Of color’ with reference to women seems other positions and alliance may fade a way or be replaced by more urgent connection. to maintain a binary within eco feminism, as it tries to subvert all these. Another outcome of Diverse understanding of the nature of the web of relationship between various spiritual/ issues connected with racism is the critique of the very label ‘eco feminist’ by various activists religious traditions and eco feminism could persist, eco feminism and deep ecology may continue from among indigenous women and women of Color. African American women concerned to wrangle, issues of racism, population growth and the valuing of some humans over others or with ecological issues would rather like to call herself an ‘eco-womanist’. Black/indigenous all humans over other non humans will stir the thoughts and action of eco feminist on a global women identify racism as the first and most dominant oppression in their experience. They feel scale. that their political alliance need to shift from a feminist agenda to one more directly engaging issues of race and class. This complexifying of interconnected oppression as a central lenient of eco-feminism continues to arise within the varieties of eco-feminism itself. Similarly globalization of all aspects of environment has also began to shift the momentum of eco-feminism. Though limited, eco-feminism gives a useful framework to critique globalisation. Eco feminists identify globalization as an outgrowth of patriarchal capitalism which according to them is the locus of social and environmental crisis. They explore the impact of globalization in many ways – the changing concepts of state, neocolonization of patriarchal capitalism, globalization as damaging diversity and the feminisation of poverty. So also post colonial eco-feminists focus on the inter section of post colonial and environmental issues. Many critics from deep ecology asserts that post colonialism is inherently anthropocentric and ecological concerns are secondary to other discourses that have historically contributed to racial discrimination – Eco criticism is said to ignore the history of colonialism giving rise to ‘universal’ environmental and ethical concerns. It is important to bring the two together so that continuing imperialist modes and colonialist attitudes of social and environmental dominance can be challenged. Where it comes to Material Eco feminism there is this attempt to shift the emphasis of analysis from ‘naturalising’ difference to analyzing the material forces that shape the relationship between women, men and nature, in an attempt to sidestep the problems of essentialism and exclusion. Women’s product labour is excluded from formal economy. Women life is an alternative reality and have a different relationship with nature. Time is not commodified in female social experience – their work is of 24 hrs, pertaining to life affirming organic practices such as child rearing, caring, creating home and community. It is believed that this allow women the privilege of embodying the aspects of culture that are still firmly rooted in nature and therefore women are qualified as historical agents who can liberate human and the natural world from immanent crisis.

17 18 Ecoaesthetics and Literature

2 Revivifying Woman-Nature Equations: Politics in the Poems of Sugathakumari

Suja T.V.

Ecofeminism reasons that a parallel exists between the oppression of women and the degradation of nature that stems from their shared history of oppression at the hands of a patriarchal society. Charlene Spretnak’s identification of Gaia, the Greek goddess as a powerful feminist and ecological symbol, followed by James Lovelock’s concept of homeostasis (the process by which nature restores its balance through inherent regenerative processes over time) influenced the ecofeminist discourse to give emphasis to the connections between women and nature. Yet they are ambivalent about the impact this attitude would make on the status of women around the globe. Cultural ecofeminism believes that Mother Goddess symbolisms and the period in which they were created highlight the fact that women are not necessarily crippled by caring and reproductive responsibilities. By seeking to revive old rituals these feminists work for a new awakening of holistic life practices. But Marxist and liberal feminists oppose this view by arguing that women’s subordination is reinforced through myths and social practices. They also criticize that ecofeminism propagates essentialism by concentrating on the biological aspect of women’s lives. All branches of ecofeminism have the fundamental realisation that it is women and nature’s shared oppression within male-dominated Western culture rather than biology or essential identity that constructs a special closeness between them. The central point of the ecofeminist agenda is the goal of individual, social and ideological change, specifically a change that will improve the cultural standing of women and nature. The anti-essentialist movement began in ecofeminism with the recognition that, “not all women were affected in the same ways by ecological degradation and that not all women viewed nature through the same lens” (Sandilands 51). This perception allows the assertion of diversity of experience portrayed in the woman-nature interface in

19 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

ecofeminist writings. The unearthing of the diverse characteristics of both woman and nature and the various ways in which women relate with nature save ecofeminism from the critique of essentialism and help the fostering of a democratic ecological ethic that prioritizes the preservation of diversity among humans and nature in a non-hierarchical and non-dualistic manner. 2 Woman-nature identifications are engraved in a variety of ways in literature from the ancient times. A feminine conceptualization of nature significant in Indian religious history conceives Revivifying Woman-Nature Equations: Politics in the almost all geographical features like mountains, forests, trees, rivers, oceans and rain as potent Poems of Sugathakumari symbols of feminine power inherent in nature. This paper attempts to have a thorough quest of this equation imprinted in the poetry of the renowned poet-activist of Kerala, Sugathakumari, in Suja T.V. order to enunciate the contributions, an ecofeminist analysis brings to the contemporary global scenario. The strongest woman-nature identification is done by writers on the basis of the capability cofeminism reasons that a parallel exists between the oppression of women and the E for creation and reproduction which ensure the sustenance of each species. The patriarchal degradation of nature that stems from their shared history of oppression at the hands of a norms have subordinated women as weaker due to her inability to sustain a free, social life patriarchal society. Charlene Spretnak’s identification of Gaia, the Greek goddess as a powerful during pregnancy, childbirth and nursing. The very same physiological, social and psychological feminist and ecological symbol, followed by James Lovelock’s concept of homeostasis (the features that lend capacity to women to serve these purposes are the ones that stamped the process by which nature restores its balance through inherent regenerative processes over perception that woman is closer to nature than men. Ecofeminists, especially the cultural time) influenced the ecofeminist discourse to give emphasis to the connections between women ecofeminists, have altered these vulnerabilities as woman’s abilities. Many feminists and and nature. Yet they are ambivalent about the impact this attitude would make on the status of ecofeminists earlier considered the ‘halo’- ing of motherhood as an exploitative tool discovered women around the globe. Cultural ecofeminism believes that Mother Goddess symbolisms and by patriarchy to tether the sense of freedom and individuality of each woman. But modern the period in which they were created highlight the fact that women are not necessarily crippled tendencies amend this attitude and recognize the power of motherhood or creation as the most by caring and reproductive responsibilities. By seeking to revive old rituals these feminists work important and unique strength of woman and nature. for a new awakening of holistic life practices. But Marxist and liberal feminists oppose this view by arguing that women’s subordination is reinforced through myths and social practices. In “Marubhoomiyude Vasantham” (The Spring of the Desert) Sugathakumari pictures the They also criticize that ecofeminism propagates essentialism by concentrating on the biological sorrow of the desert pining for rain and the subsequent magical transformation rain brings to the aspect of women’s lives. barren land, though a transient one, equating it with the hopeful heart of a woman who yearns for procreation and the tolerant heart of a mother who doesn’t give up in the trials and tribulations All branches of ecofeminism have the fundamental realisation that it is women and nature’s of life. The whole strength of a mother-child bond is infused in “Silent Valley” which depicts the shared oppression within male-dominated Western culture rather than biology or essential identity poet as a devotee and as a daughter visiting the pristine forest who calls her “Baby!” in response that constructs a special closeness between them. The central point of the ecofeminist agenda to her addressing the forest as “Mother.” “Irupathionnam Noottandinodu” (To the Twenty First is the goal of individual, social and ideological change, specifically a change that will improve the Century) depicts the earth mother as “Griefstricken, fear ridden, with enfolded hands remains cultural standing of women and nature. The anti-essentialist movement began in ecofeminism the earth / Save her, and wipe off her tears with your hands” (900). The prayer stems from the with the recognition that, “not all women were affected in the same ways by ecological degradation belief that it is the obligation of every one of us to protect the earth mother on whom we depend and that not all women viewed nature through the same lens” (Sandilands 51). This perception for sustenance. In “August 15, 1981” the poet warns about the fiery eyes of Mother India that allows the assertion of diversity of experience portrayed in the woman-nature interface in shall at any time let ablaze the yellow glories erected in this land without righteousness.

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“Pazhmaram” (The Futile Tree) presents how in its last stage of disintegration, a futile tree is unwilling to die thinking of the two birds who used to visit it every morning and the little breeze who took rest on its lap for a while. With a motherly angst and care, the tree rejuvenates itself to grow and give shade, once it receives the drops of love from the sky. How a woman and tree wish to support the beings who depend on them, until their last breath is brought out by the comparison drawn in the poem. “Ethu Poovin Manamanithu?” (Which Flower’s Fragrance Is This?) pictures how when the fearless fragrance, bird songs, forest wind, cold of the night and loneliness spill around like the smile of the forest, the speaker gets consoled and relieved of all grief. In the lap of that forest mother, she says, “Holding this green edge/I cross the sea of sorrow”( 654) Dr. S. Saradakutty perceives, “A woman can experience in nature only those relationships which are in tune with her sexuality. Based on their positions and relations in the physical world, women perceive their connections with nature as mother and daughter”(113). The poems discussed here underline the feminine bonding with nature and how it invokes mutual care and solace. “Ninne Vittengu Pokan” (Where to Go Leaving You?) depicts the motherland as one who protects her children with the motherly instinct, even when they fight among themselves. The speaker craves for solace from the motherland, when she is pestered by the injustices around her. Once the patriotic zeal in these poems is filtered out, what is found is an anxiety for the environment that homes the whole humanity. Then the concerns for the mother land and mother- nature blend into one. The poet believes in the infinite power of the mother, especially the earth mother to create and nurture with care and comfort all the inhabitants who depend on her. The mother figure is omnipotent with the power to protect and rear or to torture and destroy. Though radical feminism criticizes the connections between ecology and feminism as a regression to reinforce sex-role stereotyping, there are many writers who consider this connection as a potentially liberating one. The image of the mother gets greater impact when women and nature are attributed the cult of preservers and saviours of the earth and the beings on it. Francoise d‘ Eaubonne, the pioneer of ecofeminism bestows great responsibility upon women by stating that, “the planet placed in the feminine will flourish for all” (194). This perspective enhances the status of the responsibilities undertaken by women in day to day life. The portrayal of women and nature as preservers is overt in the poems of Sugathakumari. “Penkunju-90” (The Girl Child ’90) which pictures the thoughts of a mother about the fate of her abandoned daughter begins with a horrific reminder of the lurking dangers waiting for girls in our society and ends in the optimistic wish that the daughters of the future shall save the earth and the women. The speaker foresees that the child shall grow into a self reliant woman who

21 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

“Pazhmaram” (The Futile Tree) presents how in its last stage of disintegration, a futile tree is gives birth to kids who will support her. She hopes, “Leaning upon her shoulder / the earth shall unwilling to die thinking of the two birds who used to visit it every morning and the little breeze get consoled” (675). The poet gives the message that, by consoling the stranded and the helpless who took rest on its lap for a while. With a motherly angst and care, the tree rejuvenates itself with a healing touch, both woman and nature can instil love for life among them. “Ambalamani” to grow and give shade, once it receives the drops of love from the sky. How a woman and tree (The Temple Bell) signifies the rhythm of life held aloft by the feminine under all circumstances, wish to support the beings who depend on them, until their last breath is brought out by the which forever functions as a rejuvenating touch. When the speaker hears the toll of a temple comparison drawn in the poem. “Ethu Poovin Manamanithu?” (Which Flower’s Fragrance Is bell from a dilapidated temple, he/she recollects the good old days when the temple was decked This?) pictures how when the fearless fragrance, bird songs, forest wind, cold of the night and with lamps and the idol was worshipped by scores of people. The bell, though broken, continues loneliness spill around like the smile of the forest, the speaker gets consoled and relieved of all its duty with which it enlivens the glorious memories of the temple, even when nobody stays to grief. In the lap of that forest mother, she says, “Holding this green edge/I cross the sea of listen to it, thus preserving the holiness of the temple and thereby symbolizing the preservative sorrow”( 654) Dr. S. Saradakutty perceives, “A woman can experience in nature only those quality of nature. Ecofeminists speak of the woman’s role in harnessing the indigenous, traditional relationships which are in tune with her sexuality. Based on their positions and relations in the knowledges, which are revived to foster an ecologically sustainable way of life. Dr.S. Saradakutty physical world, women perceive their connections with nature as mother and daughter”(113). points out, “The ecofeminist perspective that only by the protection of woman and nature, who The poems discussed here underline the feminine bonding with nature and how it invokes mutual share similar experiences of victimization due to pollution and exploitation, can peace and prosperity care and solace. “Ninne Vittengu Pokan” (Where to Go Leaving You?) depicts the motherland reign in the society, can be found in the poems and activism of Sugathakumari” (119). “Marangal” as one who protects her children with the motherly instinct, even when they fight among (Trees), which portrays the speaker’s joy at the sight of the numerous trees she had planted and themselves. The speaker craves for solace from the motherland, when she is pestered by the her disgust at the sarcastic attitude of the youth who accuses her of cherishing emotional ties injustices around her. Once the patriotic zeal in these poems is filtered out, what is found is an with trees, presents the significance of afforestation as a personal, emotional need that gains a anxiety for the environment that homes the whole humanity. Then the concerns for the mother universal dimension with its visionary depth. Calling the materialistic man “century’s blind son”, land and mother- nature blend into one. The poet believes in the infinite power of the mother, the speaker says, “For him, we wander about planting and watering trees for shade/ For him, we especially the earth mother to create and nurture with care and comfort all the inhabitants who protect flowers, bird’s eggs and songs.”( 664) She exhorts mankind to remember the trees depend on her. The mother figure is omnipotent with the power to protect and rear or to torture planted and then experience how fast the silky sunshine dissolves and vanishes from there. In and destroy. “Mazhakalathinu Nandi” (Thanks to the Rainy Season) the raincloud is compared to the goddess who reigned and roamed everywhere giving boon. The raincloud lets the river Nila replenish Though radical feminism criticizes the connections between ecology and feminism as a with water, the Pampa leap into the courtyard and laugh and the dead rivers of Attappadi regression to reinforce sex-role stereotyping, there are many writers who consider this connection resurrect. By bringing tears into her dried up eyes, the raincloud brings poetry to her heart. as a potentially liberating one. The image of the mother gets greater impact when women and This poem is a visual experience of how the sensuous speaker gets rejuvenated and the nature nature are attributed the cult of preservers and saviours of the earth and the beings on it. around turns lush green by the same rain. Francoise d‘ Eaubonne, the pioneer of ecofeminism bestows great responsibility upon women by stating that, “the planet placed in the feminine will flourish for all” (194). This perspective Ecofeminism advocates human life to be reconnected with nature and envisions the enhances the status of the responsibilities undertaken by women in day to day life. development of a partnership ethic built on the grounds of mutual respect. Sugathakumari has shown how the physical and emotional needs and angsts of the people are addressed and cured The portrayal of women and nature as preservers is overt in the poems of Sugathakumari. by earth, the healer in the manner of trees, rain and the native land. Thus woman and nature “Penkunju-90” (The Girl Child ’90) which pictures the thoughts of a mother about the fate of become embodiments of consolation and comfort for the suffering beings on earth. In the her abandoned daughter begins with a horrific reminder of the lurking dangers waiting for girls travails of life man encounters severe experiences when he yearns for the presence of a in our society and ends in the optimistic wish that the daughters of the future shall save the earth companionship and emotional embrace, for which he turns to his mother or mother- nature. and the women. The speaker foresees that the child shall grow into a self reliant woman who

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In many poems Sugathakumari has portrayed instances of such a cooling effect offered to the troubled souls by the sea and trees, fragrance and breeze. In “Veliyettathil” (In the High Tide) the dejected speaker on a beach addresses the tide as a goddess and as “the holy herald of spring” (42) and wishes to be cleansed of all his disappointments by the seascape to which he has come seeking solace. “Kadalinodu” (To the Sea) symbolizes the sea as a woman who brings consolation to her eternal lover, who has come to her shore at the various stages of his life-childhood, youth, with his wife, with his children and at last as a lone old man. The lover discloses his feeling thus: When I hear you call again to sink and sleep In your cool breasts and to know peace, I wake up again, forgetting myself In the enchanting intoxication of the strong And incessant rain of your tumultous love, Deep and fully raging, again as a gale I embrace you! (330) In “Veluthapoovukal” (The White Flowers) the poet portrays the unexpected sight of a tree full of white flowers as, “With the fine and soft petals fully, white and white, smiling / A thousand flowers caressed us cool, with their compassionate eyes” (188). The tired travellers get replenished at this sight which brings back to them all those soft feelings swept away in the course of their difficult lives. Nature preserves life and encourages people to preserve their cherished abilities, memories and dreams. Like a mother, nature offers consolation in distress. These womanly qualities become a healing touch that refreshes, rejuvenates and replenishes human beings. The poet visualizes the goddess or the mother or the lady love in nature in these contexts. Ecofeminism has always focused on the soft values such as love, care and relationships which complement it with greater access to real life problems and solutions. The efficacy of such relationships is exemplified by the poems considered here. The strongest instinct for ecofeminists to relate woman and nature is the fact that both are victims of patriarchy. The identification between woman and nature in suffering is the most poignant among the many similarities between them. Sugathakumari, has written in this strain bringing out the sensitive aspects of both woman and nature but conscious not to turn this similarity into a vulnerable feature. The poetic mind which overflows with lyrics of scenic beauty is very much sensitive to the sufferings of the weaker living beings. The pains engraved in nature or the human pangs identified with nature’s sorrow have a soothening balm of nature’s presence at the end in most of her poems. “Venalinu Munpu Oru Mazha” pictures the scorching summer as a fire ordeal through which the earth mother gets purified. The suffering earth is

23 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

In many poems Sugathakumari has portrayed instances of such a cooling effect offered to compared to a woman by recalling the different stages of life’s cycle undergone by both. Though the troubled souls by the sea and trees, fragrance and breeze. In “Veliyettathil” (In the High they are at the mercy of the master gods, recognizing their own superior faculty for creation Tide) the dejected speaker on a beach addresses the tide as a goddess and as “the holy herald they remain humble and silently suffer the pains in order to give birth to ‘the song of life’, an of spring” (42) and wishes to be cleansed of all his disappointments by the seascape to which he ordeal which brings a sense of sacredness to their sacrifice and suffering. Nature’s victimization has come seeking solace. “Kadalinodu” (To the Sea) symbolizes the sea as a woman who gets a heartrending feel when it is portrayed as the futile quest of a mother bird who returns brings consolation to her eternal lover, who has come to her shore at the various stages of his home to see no nest, no tree and no forest left in “Ningalen Lokathe Enthu Cheythu?” (What life-childhood, youth, with his wife, with his children and at last as a lone old man. The lover Did You Do to My World?). The speaker asks, “What is the price of the death of a forest? discloses his feeling thus: What is the cost of the death of a tree? , What is the cost of the cry of a bird?” The poem closes with the note that nature keeps account of these queries. These questions sharply prick the When I hear you call again to sink and sleep conscience of man who has caused this situation. The poems which portray the suffering and In your cool breasts and to know peace, exploitation of nature act as the visionary poet’s warning against the threats to survival. I wake up again, forgetting myself In the enchanting intoxication of the strong Sugathakumari’s sensitivity to the exploitation endured by women also reveals the ecofeminist And incessant rain of your tumultous love, attitude of recognizing and then trying to erase the oppressions that reign on the earth’s surface. Deep and fully raging, again as a gale I embrace you! (330) The poet utilizes her poems as a tool to draw attention to the darker sides of different women’s lives. “Ivalku Mathramayi” (Only for Her) consolidates the essence of what the poet has In “Veluthapoovukal” (The White Flowers) the poet portrays the unexpected sight of a tree delineated in many poems about woman’s suffering. She writes that the woman who has drunk full of white flowers as, “With the fine and soft petals fully, white and white, smiling / A thousand a sea of tears, who smiles like the sunlight of Chingam (beginning of spring), who is cold and flowers caressed us cool, with their compassionate eyes” (188). The tired travellers get dark like the earth who holds huge flames within, has to endure innumerable troubles in her life. replenished at this sight which brings back to them all those soft feelings swept away in the She is there for man: course of their difficult lives. Nature preserves life and encourages people to preserve their cherished abilities, memories and dreams. Like a mother, nature offers consolation in distress. To trample on, sometimes to adore, to ridicule, to reject, These womanly qualities become a healing touch that refreshes, rejuvenates and replenishes To walk hand in hands, to rear babies laying upon her beating heart human beings. The poet visualizes the goddess or the mother or the lady love in nature in these A life for her only; a little saffron on her forehead, a pale laughter on her lips contexts. Ecofeminism has always focused on the soft values such as love, care and relationships An ever-burning lamp, in heart’s light house. (424) which complement it with greater access to real life problems and solutions. The efficacy of The poet gives recognition to the sacrificial life lived by a woman and expresses her futile such relationships is exemplified by the poems considered here. wish to sing a song for this friend of hers, in the end of this poem. In such poems the poet finds The strongest instinct for ecofeminists to relate woman and nature is the fact that both are fault with the society and its eroded values for the plight of women. Just as the ecofeminists victims of patriarchy. The identification between woman and nature in suffering is the most wish for a radical reshaping of the social, economic and political situations that prevail in the poignant among the many similarities between them. Sugathakumari, has written in this strain contemporary society, this poet by presenting the poignant pictures exhorts the society for a re bringing out the sensitive aspects of both woman and nature but conscious not to turn this evaluation. The sufferings of women portrayed by Sugathakumari are caused by failed love in similarity into a vulnerable feature. The poetic mind which overflows with lyrics of scenic a few poems. But majority of poems deal with the suffering caused by the exploitation of beauty is very much sensitive to the sufferings of the weaker living beings. The pains engraved woman and nature by the patriarchal consumerist modern society. in nature or the human pangs identified with nature’s sorrow have a soothening balm of nature’s Ariel Salleh makes a pertinent observation, “Women are not ‘closer to nature’ than men in presence at the end in most of her poems. “Venalinu Munpu Oru Mazha” pictures the scorching any ontological sense. Both women and men are ‘in/with/of nature’, but attaining the prize of summer as a fire ordeal through which the earth mother gets purified. The suffering earth is masculine identity depends on distancing themselves from that fact” (13). Ecofeminists explore

23 24 Ecoaesthetics and Literature the political consequences of this culturally elaborated gender difference. Women’s knowledge of restorative labours combined with their role in conserving the tradition and culture that teaches subsistence and sharing must be acknowledged in this era of depletion of natural resources and homogenization of tastes and interests by globalization. Salleh is optimistic to wish, “An emancipation of the relational sensibility of women and its reclamation by men will release earth energies” (14). Sugathakumari has strong belief in the potential of woman and nature to defend the oppressions inflicted upon them, thereby putting an end to the abuse of all- races, children, animals, plants, rocks, water and air. This poet has always observed vigil against the colonizing powers of the bureaucracy upon the resources of nature and the honour of the weaker sections of the society including women. In her poems she has portrayed this awareness and guard revealed by the oppressed, through which she exhorts how people should fight back against the conquering power structures. Often nature lends support to the suffering mind to resist the oppressions. “Silent Valleyil Veendum” (Again at Silent Valley) depicts a black lass ‘Conscience of Malanadu (the land of mountains)’ who stays in vigil to protect the innocent forest which fears the inroads of man. The conscience pictured here stands for the conscience of every human being to protect the natural resources from destruction. “Vidhi” (The Judgement) portrays the earth mother as a petitioner in the court of God against man’s incursive attitude to her and other creatures living on earth. She is accompanied by the tortured birds and animals, the witnesses of the trial. When everyone eagerly waits for the judgement, the great god majestically utters, “The fruit of man’s deed will have to be borne by his future generations”. This poem discusses a contemporary issue in a classic setting. Sugathakumari signifies the imminent problems man has to face on this earth as a result of his unscientific, unethical exploitation of nature and cruelty to other living beings. Women are considered embodiments of tolerance and forgiveness. The biological reproductive function has given a woman greater emotional capacity for patience and preservation, which is instinctual for the rearing of the offspring. Ecofeminists consider this character of women as supportive to their aptitudes for preservation and conservation of nature. Salleh observes, “Enduring activities embrace biological generativity, daily sustenance, social and generational cohesion. Cutting across ethnicity and class, these roles are almost invariably the province of women’s rights, responsibilities and skills” (142). Sugathakumari has disclosed this power of woman which finds its parallel in nature as well, in many of her poems. In “Oru Paattu Pinneyum” (Again a Song) a wild bird with broken wings is seen perching on the branch of a felled tree, trying softly to sing beating her wing. Even

25 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal the political consequences of this culturally elaborated gender difference. Women’s knowledge though she doesn’t have her mate or the grown up kids with her now, she sings her songs again, of restorative labours combined with their role in conserving the tradition and culture that teaches beating the rhythm with the single wing. The bird is symbolic of a woman who is disabled and subsistence and sharing must be acknowledged in this era of depletion of natural resources and lonely in her old days, but trying to get happiness in what is left for her. Uncomplaining, the bird homogenization of tastes and interests by globalization. Salleh is optimistic to wish, “An finds joy in her present environment. “Irulchirakukal” (Dark Wings) depicts the comforting emancipation of the relational sensibility of women and its reclamation by men will release earth motherly presence of the majestic night in which a little bird, the daughter of the night, flies about energies” (14). happily and then goes to sleep peacefully. The innocent little bird does not care about the latent dangers posed by the birds of prey or the traps of fake love, for, the tolerant and majestic Sugathakumari has strong belief in the potential of woman and nature to defend the mother, the night, is there to watch and guard this little daughter. In “Rathrimazha” (Night Rain) oppressions inflicted upon them, thereby putting an end to the abuse of all- races, children, the female speaker identifies herself with the night rain, who arrives with a caress as a friend in animals, plants, rocks, water and air. This poet has always observed vigil against the colonizing need. She first feels the rain as a young, mad woman. It appears to the speaker as a sad powers of the bureaucracy upon the resources of nature and the honour of the weaker sections daughter of the night, consoling her in her grief. Earlier it had enthralled her and had witnessed of the society including women. In her poems she has portrayed this awareness and guard her love. The personification reaches its zenith when the speaker tells the rain how they are revealed by the oppressed, through which she exhorts how people should fight back against the alike and how much she understands the rain and addresses the rain, conquering power structures. Often nature lends support to the suffering mind to resist the oppressions. “Silent Valleyil Veendum” (Again at Silent Valley) depicts a black lass ‘Conscience I get to know your melancholic music, of Malanadu (the land of mountains)’ who stays in vigil to protect the innocent forest which your sympathy and suppressed anger, fears the inroads of man. The conscience pictured here stands for the conscience of every Arrival at night, alone, to sob, human being to protect the natural resources from destruction. “Vidhi” (The Judgement) portrays When dawn comes, wiping the face the earth mother as a petitioner in the court of God against man’s incursive attitude to her and You smile and hasten, your pretence I know. (321) other creatures living on earth. She is accompanied by the tortured birds and animals, the Beneath the surface level of suffering, tolerance and companionship can be perceived; it witnesses of the trial. When everyone eagerly waits for the judgement, the great god majestically explores the tolerant nature of both woman and rain as they accept the grief and distress of utters, “The fruit of man’s deed will have to be borne by his future generations”. This poem suffering. The poems discussed reveal how nature often appears in Sugathakumari’s poems as discusses a contemporary issue in a classic setting. Sugathakumari signifies the imminent problems a consoling presence often tolerant and forgiving the human errors. man has to face on this earth as a result of his unscientific, unethical exploitation of nature and cruelty to other living beings. In these poems the diverse characteristics of both woman and nature are unearthed, which frees both the subjects from the critique of essentialism. These multiple identifications show Women are considered embodiments of tolerance and forgiveness. The biological how an ecofeminist reading provides insights into the human-nature interrelatedness, which is reproductive function has given a woman greater emotional capacity for patience and preservation, embedded in the consciousness of every being and how its realization is essential for fostering which is instinctual for the rearing of the offspring. Ecofeminists consider this character of an ecologically sustainable livelihood. The non-hierarchical representation of the diverse relations women as supportive to their aptitudes for preservation and conservation of nature. Salleh becomes a democratic platform created by the ecofeminist discourse, warding off its earlier observes, “Enduring activities embrace biological generativity, daily sustenance, social and essentialist and reductionist tendencies. The meaningful evocations lent by the perceptions add generational cohesion. Cutting across ethnicity and class, these roles are almost invariably the to the rationalism inlaid in ecofeminism. The diverse traits unravel the differential identity politics province of women’s rights, responsibilities and skills” (142). of woman and nature, thereby letting woman-nature nexus a strategy to erase the earlier criticisms Sugathakumari has disclosed this power of woman which finds its parallel in nature as well, attributed to ecofeminism- that it is essentialistic, irrational and depoliticized. This thematic in many of her poems. In “Oru Paattu Pinneyum” (Again a Song) a wild bird with broken analysis also reveals how the ecofeminist notions resist dualism and hierarchy by the conservation wings is seen perching on the branch of a felled tree, trying softly to sing beating her wing. Even of biological, cultural and ethnic diversity, which the ecofeminists think essential for the growth

25 26 Ecoaesthetics and Literature of healthy ecosystems. All these current perspectives transform ecofeminism into the most suitable contemporary discourse, apt to resist the homogenizing processes of globalization and the unpredictable environmental hazards caused due to the greedy, unethical development agenda of the humans.

Works cited Primary Source Sugathakumari. Sugathakumariyude Kavithakal Sampoornam[The Complete Works of Sugathakumari]. Kottayam: D.C., 2006. Print. Secondary Sources d’ Eaubonne, Françoise. “Time for Ecofeminism.” Trans. Ruth Hottell. Key Concepts in Critical Theory: Ecology. Ed. Carolyn Merchant. Jaipur: Rawat, 1996: 174-97. Print. Salleh, Ariel. Ecofeminism as Politics: Nature, Marx and the Postmodern. London: Zed Books, 1997. Print. Sandilands, Katriona. The Good -Natured Feminist: Ecofeminism and the Quest for Democracy. Minneapolis: U of Minnesota P, 1999. Print. Saradakutty, S. “Paaristhithika Pranjayum Karunayum Sugathakumariyil” [“The Ecological Conscience and Compassion in Sugathakumari”]. Kattukiliyude Paattu. [The Song of the Wild Bird]. Ed. Tony Mathew. Thiruvananthapuram: The State Institute of Languages, 2011: 110- 22. Print.

27 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal of healthy ecosystems. All these current perspectives transform ecofeminism into the most suitable contemporary discourse, apt to resist the homogenizing processes of globalization and the unpredictable environmental hazards caused due to the greedy, unethical development agenda of the humans. 3 Works cited Ecological Guild and Rapture in Arundhathi Roy’s Primary Source GOD OF SMALL THINGS Sugathakumari. Sugathakumariyude Kavithakal Sampoornam[The Complete Works of Darly Mathew Sugathakumari]. Kottayam: D.C., 2006. Print. Secondary Sources d’ Eaubonne, Françoise. “Time for Ecofeminism.” Trans. Ruth Hottell. Key Concepts in Critical ‘God of small things’ is a fantabulous conglomeration of the myriad ecological Theory: Ecology. Ed. Carolyn Merchant. Jaipur: Rawat, 1996: 174-97. Print. manifestations of Aymanam and the nearby places on the coast of river Meenachil, rather than a fictional world be speaking the complex relations and emotional turmoil’s of Velutha and Salleh, Ariel. Ecofeminism as Politics: Nature, Marx and the Postmodern. London: Zed Ammu, Rahel and Esthappan, or the Aymanam household. The description of nature, is embedded Books, 1997. Print. in almost every chapter of the novel and acts as the life- infusing element of the work. Without Sandilands, Katriona. The Good -Natured Feminist: Ecofeminism and the Quest for the river, the novel has no existence, and in fact without the rubber trees and jackfruits also. The Democracy. Minneapolis: U of Minnesota P, 1999. Print. reader must listen to mosses and tapiocas, pepper vines and beetles too , if Chacko and Estha Saradakutty, S. “Paaristhithika Pranjayum Karunayum Sugathakumariyil” [“The Ecological and Baby Kochamma and others are to be heard. At the outset of the novel, Arundati Roy Conscience and Compassion in Sugathakumari”]. Kattukiliyude Paattu. [The Song of the Wild leaves a full description of the ambience in Aymanam against the backdrop of river Meenachal Bird]. Ed. Tony Mathew. Thiruvananthapuram: The State Institute of Languages, 2011: 110- which is the abode of crows and bright mangoes and Jackfruits and bananas. The whole 22. Print. narration in the novel goes intertwined with what the nature has got to say through gardens, insects, fruits, birds and the river. The narrator’s infallible love for the macrocosm of the nature, especially the one whose possession goes to Rahel, Estha, Valyapappan, Velutha, Ammu etc. The narration advances in such a way that by the end of the novel , an astute reader may perhaps be equipped with the topography of the place and also of the indigenous flora and fauna. The lush greenery is in fact a major element in the nature- sensitive descriptions and tactile imageries used in the novel.. It goes like this, “The old house on the hill wore its steep, gabled roof pulled over its ears like a low hat. The slushgreen paddy fields of Nattakom which witnesses the crash landing of Chacko’s model aircrafts, Velutha and Velya Papen at the back entrance of Aymanam house delivering coconuts and Velutha’s magic of making toys like tiny windmills, rattles, minute jewel boxes out of dry palm seeds and boats out of tapioca stems and figurines on

27 28 Ecoaesthetics and Literature cashew nuts begets the quintessential element of rapture in nature for Rahul and Estha. For them , the greatest joy in the world was a three- minute run through the coconut trees to Velutha’s house which smelled of fresh wood shavings and where they could get’ the best fish curry in the whole world’.Such a description as that of’ Kites in the red sky looking for rats and the road getting reflected in their eyes’ is the ingenious expression of intimate fellowship with nature. Even in the surrealistic thoughts expressed, nature is the theme. Estha’s withdrawal to his self is compared to the “uneasy octopus which lives inside itself and squirmed its inky tranquilizer over the past”. A bird in flight reflected in an old dog’s balls. It made him laugh aloud. “Estha is compared to a man” wrinkled by the sun bearing sea- secrets in him.” Sophymol screaming inside the ashes of the earth can be seen only in God of small things. Even the narrator’s philosophical questions are raised in terms of simple nature. For example, in connection with Sophimol’s death, “Where do old birds go to die? Why don’t dead ones fall like stones from the sky? “The presence of the dead bee in the coffin flower of Sophymol is probably nobody else except the nature of Aymanam. Even the convulsions in Estha’s brain is explained in terms of natural phenomena such as comets, earthquakes, the bursting of the dam etc. Nature pervades the whole narration in the novel. “At hotel Sea Queen, Ammu dreamed of dolphins and a deep blue. It is said she had her grandfather’s moth on her heart. She turned away from the screaming steel bird in the skyblue sky that had her cousin in it. She gnawed the English cashew nut in her bag like a rodent.” Everything in their life, birth and death and romance and hope and hopelessness were centered around the river. Estha, after being returned by the father, walks all over Aymanam ,and realises how much he had been a part of it. Estha watches the decimation of the fish in the river and also poignantly sees those suffering from fin-rot. So much sensitivity he shows because, even though he had been away for a while, it all actually belongs to himself and Estha. Though he has returned quite alone from his father and is feeling estranged, Estha realises how much he had been attuned to Aymanam, its riverbanks; how he could feel the wetness of the rain and what the old dog who would squelch at his side had been to him. Rahel, on her return from America, after reaching Baby Kochamma’s room, bewails the sliding-folding door being closed for ever against the river, unlike in Mammachi’s times. She laments that Rev. John Ipe in the photo is no more able to watch the river as he would usually do. She is bereaved by Aleyootti Ammachi who is not there to watch the fishermen and the boat, which was one of her greatest endearments. She says, “Though you couldn’t see the river from the house anymore, like a seashell always has a sea sense, the Aymanem house still had a river sense.” Pappachi, the

29 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal cashew nuts begets the quintessential element of rapture in nature for Rahul and Estha. For imperial entomologist was assiduous in keeping the moth kingdom intact. them , the greatest joy in the world was a three- minute run through the coconut trees to Of course the river bank was offering them a compensatory world which could strip them Velutha’s house which smelled of fresh wood shavings and where they could get’ the best fish off their deprivations, irreparable losses and agonies. Ammu, the moments when she felt torn curry in the whole world’.Such a description as that of’ Kites in the red sky looking for rats and between motherhood and divorce hood, would go to the riverbanks with a “tangerine shaped the road getting reflected in their eyes’ is the ingenious expression of intimate fellowship with plastic transistor”. The river would give her ample space for the consummation of the “reckless nature. rage of a suicide bomber” which she was holding inside her. Ammu’s restored gaiety is compared Even in the surrealistic thoughts expressed, nature is the theme. Estha’s withdrawal to his to a “soaring seagull’s wings”. We can see in the novel Rahel, on being psyched out by Sophymol, self is compared to the “uneasy octopus which lives inside itself and squirmed its inky tranquilizer thinks of the green river, the deep swimming fish and also of the dragonflies. “She thought of her over the past”. A bird in flight reflected in an old dog’s balls. It made him laugh aloud. “Estha is luckiest fishing road that Velutha had made for her. Yellow bamboo with a float that dipped compared to a man” wrinkled by the sun bearing sea- secrets in him.” Sophymol screaming every time a foolish fish required. She wished Velutha was with her. “Viewed through the inside the ashes of the earth can be seen only in God of small things. Even the narrator’s frankly evaluating eyes of young Rahel and Estha, Velutha appeared to be a special person philosophical questions are raised in terms of simple nature. For example, in connection with because of his ‘green’ knowledge, or his ability to shape their world in keeping with the natural Sophimol’s death, “Where do old birds go to die? Why don’t dead ones fall like stones from the environment.” (Bandyopadhyay 2011) The Meenachal river was offering revolutionary fire sky? “The presence of the dead bee in the coffin flower of Sophymol is probably nobody else and shelter for the less privileged and was shaping a subculture of silence. except the nature of Aymanam. Even the convulsions in Estha’s brain is explained in terms of How beautifully the author furnishes even the minute details! “Moidges whizzed in tea natural phenomena such as comets, earthquakes, the bursting of the dam etc. Nature pervades pots. Dead insects lay in empty vases.” Towards the end of chapter four, we see a perfect the whole narration in the novel. “At hotel Sea Queen, Ammu dreamed of dolphins and a deep coexistence of the biotic and the abiotic in the river fed soil of Aymanem. To those who have blue. It is said she had her grandfather’s moth on her heart. She turned away from the screaming enjoyed at least an iota of this, there is nothing more joyous than this. “They dreamed of their steel bird in the skyblue sky that had her cousin in it. She gnawed the English cashew nut in her river. Of the coconut trees that bent into it and watched, with coconut eyes, the boats slide up. bag like a rodent.” Upstream in the mornings, downstream in the evenings. And the dull sullen sound of the boatmen’s Everything in their life, birth and death and romance and hope and hopelessness were bamboo poles as they thudded against the dark, oiled boatwood. It was warm. The water centered around the river. Estha, after being returned by the father, walks all over Aymanam graygreen. like rippled silk with fish in it with the sky and trees in it and at night the broken ,and realises how much he had been a part of it. Estha watches the decimation of the fish in the yellow moon in it.” river and also poignantly sees those suffering from fin-rot. So much sensitivity he shows because, The carcass of a dead elephant which they happened to see on their way back from Cochin even though he had been away for a while, it all actually belongs to himself and Estha. Though becomes matter of a deep concern for Aymanem household. he has returned quite alone from his father and is feeling estranged, Estha realises how much he had been attuned to Aymanam, its riverbanks; how he could feel the wetness of the rain and Aymanem household, though an aloof looking one was a grand one, not only because of the what the old dog who would squelch at his side had been to him. Rahel, on her return from people who stayed there but also of the moss that was grown over the roof, of the triangular America, after reaching Baby Kochamma’s room, bewails the sliding-folding door being closed wooden frames, and also of the secret patterns of wolves, flowers and iguanas on the floor. In for ever against the river, unlike in Mammachi’s times. She laments that Rev. John Ipe in the fact, the four shuttered teak wooden panelings and Baby Kochamma’s ornamental garden were photo is no more able to watch the river as he would usually do. She is bereaved by Aleyootti other elements which made it the Aymanem household. In the novel, the narrator presents a Ammachi who is not there to watch the fishermen and the boat, which was one of her greatest spectrum of 23 years and poses a juxtaposition of river before and after 23 years and also of endearments. She says, “Though you couldn’t see the river from the house anymore, like a the ornamental garden. Years later, when Rahel returned from America and visited the river, the seashell always has a sea sense, the Aymanem house still had a river sense.” Pappachi, the river too had been distorted just like the lives of Estha and Rahel. A saltwater barrage had been

29 30 Ecoaesthetics and Literature built across the river and the river disintegrated into nothing more than “a swollen drain”, into an “absurd corbelled monument that commemorated nothing”. Returning after years from America, once again Rahel wants to make patterns of windmills and flowers. She could see Velutha bringing up three raccoons. On silent and clear nights she could listen to the sounds of chenda from the Aymanem temple which eventually took her to the temple. To them the river had been an inimitable source of resources for which they could approach at any time. The picture of Velya Papen going across the river to get nutmegs for his sick wife reveals the freedom they enjoyed at the storehouse of river. The narrator is also pointing to the sustainability and the vibrant food chain maintained by the river. The narrator fastidiously explains symbiotic relationship of Rahul and Estha and the dragonflies and hens and other living things in and around the Aymanam house and the river. Their greatest joy lay in watching a dragonfly pulling off a small stone with its legs, which of course Baby Kochamma was trying to undermine. The ghost of the Kari Saip is pinned to a rubber tree, which is typical of the financial stronghold of Kottayam. The yearning of the locked Saip for cigarette and the cigarette smell in the novel suggestive of the netherworld presence also adds to the aesthetics of the novel. The ‘History house’ was providing them a chance to enjoy the ‘river silence, the the silence of the fisher people and also of waxy mermaids’. Estha and Rahel were educated with the fundamental ecofeminist concept of ‘Earth Woman’ by Chacko in addition to the story on account of History House. The river had a kind of give and take relationship with the Aymanam household. The old Mangosteen tree on the river bank had been a point of tryst for many of them and especially for Velutha and Ammu.Their meeting was also in the presence of moss, ferns, and dragonflies.The boat which ferried them across also provided them a microcosm of wilderness. The boat accommodated a gray old boatplant with boatflowers and boatfruit and underneath a boat- shaped patch of withered grass. It was an enchanting and saturated boatworld which was dry and cool and blind’. White termites, white ladybirds, white beetles and white grasshoppers’ were playing a melancholic concert. The Meenachal river had carried in it everything which the twins could enjoy, including the sky and the tree and even broken yellow moon at night. The river still rooms an old tamarind tree which had fallen down in a storm. Estha and Rahel had known all the essentials of the river such as the really deep area, the swift current, the upstream and what not. They were acquainted with the first third of the river and the slimy mud footsteps. They were certain about the dwellings of fish like pallathi, parrel, wily, koori and karimeen. Here they discovered the “discotinected delights of underwater fatting”. “Two happy hearts were soaring like colored kites in the sky blue sky”. The river had also offered a nearby clearing with

31 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal built across the river and the river disintegrated into nothing more than “a swollen drain”, into an coconut, cashew, mango, bilimbi and also a small hut” as if listening to some subterranean “absurd corbelled monument that commemorated nothing”. Returning after years from America, secret”. The three ripe banana trees in front of the house and also a hen on guard of the hut once again Rahel wants to make patterns of windmills and flowers. She could see Velutha could always be expected invariably. Just as Aymanem household, at the back of this house too, bringing up three raccoons. On silent and clear nights she could listen to the sounds of chenda the river was “glimmering through the foliage”. Only at a single point in the novel, the river is from the Aymanem temple which eventually took her to the temple. blamed for its pretension, by Kuttappan. He opines that river fancies herself to be a complying “ammumma” who is a regular housekeeper and is not much more than self-centred. But really To them the river had been an inimitable source of resources for which they could approach she is like a feigned lady who is given to impudence and westernisation. Velutha is called the at any time. The picture of Velya Papen going across the river to get nutmegs for his sick wife “tropical Eskimo” and he has to bend low to enter into his house. Even their dreams are centred reveals the freedom they enjoyed at the storehouse of river. The narrator is also pointing to the around the river and the sea and fish. Sometimes the twins will be covered in fine dust like “two sustainability and the vibrant food chain maintained by the river. The narrator fastidiously explains pieces of unidentical cakes”, sometimes a curl from Velutha’s backyard will add to Rahel’s symbiotic relationship of Rahul and Estha and the dragonflies and hens and other living things in curls. (Curls which she obtained from Velutha’s wood carvings.) and around the Aymanam house and the river. Their greatest joy lay in watching a dragonfly pulling off a small stone with its legs, which of course Baby Kochamma was trying to undermine. In the novel, Arundhathi Roy has substituted the politics of culture with the politics of The ghost of the Kari Saip is pinned to a rubber tree, which is typical of the financial stronghold aesthetics. Ammu and Velutha through their attention to the specifics of the spider, while engaged of Kottayam. The yearning of the locked Saip for cigarette and the cigarette smell in the novel in their play suggests that they are engaged in an aesthetic act that levels human and insect suggestive of the netherworld presence also adds to the aesthetics of the novel. The ‘History importance. house’ was providing them a chance to enjoy the ‘river silence, the the silence of the fisher people and also of waxy mermaids’. Estha and Rahel were educated with the fundamental ecofeminist concept of ‘Earth Woman’ by Chacko in addition to the story on account of History References House. 1. Bandyopadhyay D., 2011. Arundhati Roy : Environment And Literary Activism. Web. The river had a kind of give and take relationship with the Aymanam household. The old www.idsk.edu.in/annual-reports/OP-24pdf. Accessed on 1 Dec. 2014. Mangosteen tree on the river bank had been a point of tryst for many of them and especially for 2. Cohn, E., 2009, Radical Aesthetics: Arundhati Roy’s Ecology of Style, ARIEL: a review of Velutha and Ammu.Their meeting was also in the presence of moss, ferns, and dragonflies.The international English literature, 40(2-3), 161-182. boat which ferried them across also provided them a microcosm of wilderness. The boat 3. Hopkins L., 2011, ‘What Will Sophie Mol Think?’: Thinking critically about the figure accommodated a gray old boatplant with boatflowers and boatfruit and underneath a boat- of the white child in Arundhati Roy’s The God of Small Things. Web. http://dx.doi.org/ shaped patch of withered grass. It was an enchanting and saturated boatworld which was dry and cool and blind’. White termites, white ladybirds, white beetles and white grasshoppers’ 10.2304/gsch.2011.1.4.280 Accessed on 30 Nov. 2014. were playing a melancholic concert. The Meenachal river had carried in it everything which the twins could enjoy, including the sky and the tree and even broken yellow moon at night. The river still rooms an old tamarind tree which had fallen down in a storm. Estha and Rahel had known all the essentials of the river such as the really deep area, the swift current, the upstream and what not. They were acquainted with the first third of the river and the slimy mud footsteps. They were certain about the dwellings of fish like pallathi, parrel, wily, koori and karimeen. Here they discovered the “discotinected delights of underwater fatting”. “Two happy hearts were soaring like colored kites in the sky blue sky”. The river had also offered a nearby clearing with

31 32 Ecoaesthetics and Literature

4 An Ecological Musing: Nature / Nature in selected Malayalam short fiction

Seeja H.

“The singular is not love’s enemy; Love’s possibilities or realisation Require an otherness that can say I.” -W.H.Auden, For the Time Being.

Ecofeminist thinking might vary as it envisages the affinity between women and nature and the way the patriarchal relations decide the construction of the oppressional pattern on the female and the natural world. Believing the direct connection between the domination as well as oppression of women and the abuse of nature, it concerns the interrelationship between the human and non-human earths. P.Vatsala’s “The Nectar of the Panguru flower”, Manasi’s “The Bird in the Snow” and O.V. Usha’s “Suspended Soil” are designed in the fabric of feminist or ecological ideas: they reflect a society in which women are somewhat more than their bodily presences, it is hard for them to escape physical atmosphere. The women portrayed in these stories do not attest to any pre-given notion of the ideal. In spite of the blood and tears that mark the lives of these women, they are not tragic figures. On the contrary, their minds are without fear and their heads are held high. In P.Vatsala’s story, “The Nectar of the Panguru Flower”, Challi with her man Basavan takes off to the wild woods where Panguru flowers bloom like bits of moon on luscious creepers. They lose track of the passage of time, becoming too pure consciousness blended with nature. When after a year or two they return to the village to take their baby to the temple, people throng around them and the gaze of a thousand eyes falls on Challi. Made painfully conscious of

33 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

her body and its sexual presence, Challi realizes that she has entered the civilized world which is not Eden for the female of the species. Swiftly, she is reduced to an object of the male gaze, a mere physical being. Even though the story is passing through the eyes of Basavan, it revolves around ‘panguru’ 4 the representative of Challi. They hug a ‘primeval’ way of life as a protest against the so called civilized people who are highly materialistic and commercial. Forest is a peace giving space with An Ecological Musing: Nature / Nature in selected an affinity for nature encouraging personal spiritual development whereas the ‘village’ is Malayalam short fiction consumer-driven, colonizing and in fact, a threat to the way of life which was so acquainted to Basavan and Challi. The ideology of the superior in the society insists him to think and decide his Seeja H. life and change the people who are dependent on him. “He was confident that Challi, his woman, would have to come to him even if he did not get round to thatching his dilapidated house.”(1) Challi, the refined girl from the neighboring village easily accommodate with her life in new “The singular is not love’s enemy; structure, recognizing the sunrise on Basavan’s face. For the first time, she was confused of the Love’s possibilities or realisation culture she learns “No sari would do for you. Your beauty is extinguished when wrapped in a Require an otherness that can say I.” sari.”(2) The values she celebrates are not material success but personal transformation through -W.H.Auden, For the Time Being. an understanding of being part of Nature- the ability to be amazed by life, to live every second. Realizing the overcast in his face, she seeks the Panguru flower and she leaves with him accepting Ecofeminist thinking might vary as it envisages the affinity between women and nature the world of her man. and the way the patriarchal relations decide the construction of the oppressional pattern on the “Where is it, the Panguru has bloomed?” female and the natural world. Believing the direct connection between the domination as well as “In the forest! Let’s go. We leave right now” (3) oppression of women and the abuse of nature, it concerns the interrelationship between the human and non-human earths. Beetle, a jewel, an emerald beetle is ready to show the way to forest. In the words of Susan Griffin, P.Vatsala’s “The Nectar of the Panguru flower”, Manasi’s “The Bird in the Snow” and O.V. Usha’s “Suspended Soil” are designed in the fabric of feminist or ecological ideas: they “We know ourselves to be made from this earth. reflect a society in which women are somewhat more than their bodily presences, it is hard for We know this earth is made from our bodies. them to escape physical atmosphere. The women portrayed in these stories do not attest to any For we see ourselves. pre-given notion of the ideal. In spite of the blood and tears that mark the lives of these women, And we are nature. they are not tragic figures. On the contrary, their minds are without fear and their heads are held We are nature seeing nature. high. We are nature with a concept of nature. Nature weeping. In P.Vatsala’s story, “The Nectar of the Panguru Flower”, Challi with her man Basavan Nature speaking of nature to nature.” takes off to the wild woods where Panguru flowers bloom like bits of moon on luscious creepers. They lose track of the passage of time, becoming too pure consciousness blended with nature. Though born in the village, Basavan was forever making off for the forest which proves his When after a year or two they return to the village to take their baby to the temple, people other part will be the same. Like the first zoological image ‘Beetle’, ‘Hawk’, ‘Cattle’ and throng around them and the gaze of a thousand eyes falls on Challi. Made painfully conscious of ‘Dragonflies’ are used as a structural device that is not only integral to the author but also to the

33 34 Ecoaesthetics and Literature theme (Prasad 363). These animal images introduce the life of forest and immeasurable pleasure awaited in nature. Challi identifies that in her quest for a fruitful life, she needs to forget the cultured one she was familiar with. Gradually she forgets human bondage, enjoying the bath in the perfumes of the Panguru flower and satisfies her hunger with golden honey pilfered from honeycombs. Both the partners did not choose to remember the tepid life of the village that must have continued somehow, in some time, some place. Challi finds relief in the company of nature. Yet, she cannot restrain her inability in the closed world. When her husband asked her of their baby, she points a finger towards the sun’s flushed face. The black monkeys who gather in the dung-smeared floor beneath the arrowroot roof unsettled the entire forest, peered down at the baby as to make over the privilege he would have got in the village: Challi performs all the duties of a wife imposed on women from society. “The law of the Goddess is love: passionate sexual love, the warm affection of friends, fierce protective love of mother for child, the deep comradeship of the coven. There is nothing amorphous or superficial about love in Goddess religion: It is always specific directed towards real individuals, not vague concepts of humanity” (Starhawk). The day her child walked without another’s help, Challi’s memories flared open and announce their departure from nature to civilized world. A mother cannot hide herself from her duties. She had to perform her duties of a wife, had done well. Now it’s time for her son who will decide her life and duty. She has to do “to take our baby to the temple of Malankali for his first meal. Then he has to be sent to the school on the hill...” (7) “Where are your pots and pans?” The question shows her attitude to return back to the domestic life in the village. The pots and pans by the forest had been burned into anthills. On her return, she senses the change that has come over to the village. The village was lying beneath a high tide of tourists. Groups of them gathered before the shops in the village square. There were altogether four shops, which appeared to genuflect before them. The tourist wanted everything. Country liquor, women, a visit to the temple, natural beauty, baths offering coolness, beds offering warmth, nectar from the forest .The crowd surrounds her like flies swarming over a honey pot. They stood as if savoring a sweet fruit. The sight of Challi as on the day she was born and the baby digging its nails into her breast. Asannar, from the crowd discloses to her that she is the nectar, the Panguru flower. “Basavan, you brought the honey here to give it to me, didn’t you?” (9) The husband measures the earth against the sky. Challi reduced as an object for enjoying like the beauty of a Panguru flower.

35 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal theme (Prasad 363). These animal images introduce the life of forest and immeasurable pleasure As a typical ecofeminist story, the role of wife and mother has been squeezed dry and awaited in nature. revalued as a mere product. The crowd emphasizes the need for women to remain vigilant to guard spaces that are legitimately theirs. Challi identifies that in her quest for a fruitful life, she needs to forget the cultured one she was familiar with. Gradually she forgets human bondage, enjoying the bath in the perfumes of In the second story, Manasi’s The Bird in the Snow, both the nouns represent specific the Panguru flower and satisfies her hunger with golden honey pilfered from honeycombs. Both ideas, i.e., woman and the material world. As women find themselves indefinable in the existing the partners did not choose to remember the tepid life of the village that must have continued language system, womanhood is represented through ambiguous images. The ostrich-like fowl somehow, in some time, some place. in Manasi’s story doesn’t inhabit a sub-tropical landscape or bury its head in the sand. Instead, with its face like a woman’s, eyes like smoldering coal and head held high, it walks over enormous Challi finds relief in the company of nature. Yet, she cannot restrain her inability in the stretches of snow in the hope of reaching beyond it. The invention of images like these disrupts closed world. When her husband asked her of their baby, she points a finger towards the sun’s the convention of a realistic narrative. In this story the reader and the represented, the factual flushed face. The black monkeys who gather in the dung-smeared floor beneath the arrowroot and the fictional, the familiar and the fantasized mix and merge to create seamless world of roof unsettled the entire forest, peered down at the baby as to make over the privilege he would womanly experience. have got in the village: Challi performs all the duties of a wife imposed on women from society. “The law of the Goddess is love: passionate sexual love, the warm affection of friends, fierce Most of the ecofeminists shared the concept that “Man’s freedom and happiness depend protective love of mother for child, the deep comradeship of the coven. There is nothing amorphous on as ongoing process of emancipation from nature. The spiritual feminists argue that “theirs is or superficial about love in Goddess religion: It is always specific directed towards real individuals, the politics of everyday life, the transformation of fundamental relationships, even if that takes not vague concepts of humanity” (Starhawk). The day her child walked without another’s help, place in small communities.” (Ecofeminism pg18- Maria mies, Vandana Shiva). Here the narrator Challi’s memories flared open and announce their departure from nature to civilized world. A responds to the surroundings that “The stamens of the flower were like huge crops. They stood, mother cannot hide herself from her duties. She had to perform her duties of a wife, had done fearful, above me, my children and the whole world (10). The cold winter noon is good for a well. Now it’s time for her son who will decide her life and duty. She has to do “to take our baby dreamer to wonder alone in his fancy. The afternoon siesta was an enough time for observing to the temple of Malankali for his first meal. Then he has to be sent to the school on the hill...” the rhythm of unconscious mind. She dreamed herself as a bird.” “I had dreamed first of a white (7) “Where are your pots and pans?” The question shows her attitude to return back to the place, like this, covered with eyes. In the middle of the bleak landscape stood a bird like an domestic life in the village. The pots and pans by the forest had been burned into anthills. ostrich, with very long legs and a big beak.”(p11). The hued lines between its beak and leg seemed lovely to her. The faded grey color of the bird reminds her of the foreign grayness of the On her return, she senses the change that has come over to the village. The village was maid. lying beneath a high tide of tourists. Groups of them gathered before the shops in the village square. There were altogether four shops, which appeared to genuflect before them. The tourist The questions that arise in her troubled mind after witnessing the movement of the bird in wanted everything. Country liquor, women, a visit to the temple, natural beauty, baths offering the ice show her intense feminist awareness of being repressed and marginalized. It transforms coolness, beds offering warmth, nectar from the forest .The crowd surrounds her like flies her to a representative of the modern new woman who resists the social and cultural norms and swarming over a honey pot. They stood as if savoring a sweet fruit. The sight of Challi as on the wishes to transcend them and be true to herself. “I know, somehow, that the bird was trying to day she was born and the baby digging its nails into her breast. Asannar, from the crowd discloses reach a place beyond the ice. I knew too that the bird was thirsty. The pace of its walk to her that she is the nectar, the Panguru flower. slowed.”(11). The aluminum vessel with water, appeared on the top of the ice is actually a milestone. The dream recreates her life with symbols of bird, vessel, flowers, etc. The thirst of “Basavan, you brought the honey here to give it to me, didn’t you?” (9) The husband the bird retouches her way from fancy to liberation. A wave of liberation begins when she finds measures the earth against the sky. Challi reduced as an object for enjoying like the beauty of a parallel images from nature. “The bird wore my face. The instant it saw me, it tried to laugh, but Panguru flower. it was laughter without a sound.”(11) The blood in the teeth recognizes that ‘failure’ as a ‘woman’.

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Widows, the slender girl and servant clung fiercely in her heart representing the role a woman wanted to take over from family. The physical and emotional realms are given equal importance in the story. Celebrating one’s thought is a commitment to the society to share and heal one’s relationship to one another and in turn our relationship to environment. The protagonist observes that if Muraleedharan were, he would be able to understand why the bird’s beak and feet were grey. Before telling the entire tale he might have asked of the swift movement of the vessel. She doesn’t blame all the men as a spiteful critic but tries to find persons from other gender who will carry her thought. “Tharavad” another soothing place for everyone fill her thoughts with the death of Murali and his mother whose eyes were as cold and empty as the afternoon. But some others, different from the person like Murali, did not express a better glimpse. “Look, what are your problems? I’ll solve them all. If we are all with one another, how can there be problems? Then let us walk through the cool afternoon, immersed in talk” (13). “We are the bird’s eggs. Bird’s eggs, flowers, butterflies, rabbits, cows, sheep; we are caterpillars; we are leaves of Ivy and Springs of Wall flower. We are women. We rise from the wave. We are gazelle and doe, elephant and whale, lilies and roses and peach, we are air, we are flame, we are crystal and pearl, we are girls. We are women and nature. And he says he cannot hear us speak. But we hear.” – (Susan Griffin, woman nature: The Roaring Inside Her). Exactly; she listens to everything but her throat would go dry when she thinks of speaking, reserving all things for the night. Many people understand the need to change their way of thought. But here the narrator likes her dream, thought etc more than the worldly bondage. She believes perhaps the servant had taken the children to the park. The progression in narrator’s consciousness is because of her total disenchantment with all that is domineering, all that is based on pure reason. The existential problems of adjustment insist her to hide from the material life. “I hid in the dark behind the door leading to the balcony. The children ran through the house looking for me” (14) The cold of the curtain creeper’s leaves carries her to another thought; Unni Ettan, cousin tried to hug her in the temple of the tharavad fills her eyes with tears. The idol that originated in the mind crashed and she compares with the crash that happened in the dining table. She likes to deviate from cultural and social norms prescribed for her present life. She longs to live like a modern woman who wanted to go far away from the disturbing surroundings and lives on her own thoughts. However, keeping a distance from her duties means not to forget her family, every time she recognizes the events in her home.

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Widows, the slender girl and servant clung fiercely in her heart representing the role a woman “I remained on the balcony until the maid had put the children to bed and placed the rapper wanted to take over from family. The physical and emotional realms are given equal importance for my husband and myself on the dining table”. (15) in the story. She covered the children with a quilt that was many hued like the throat of the bird, removing Celebrating one’s thought is a commitment to the society to share and heal one’s relationship the white quilt. The arranged flowers in a big glass and the white quilt felt like wreath and dead to one another and in turn our relationship to environment. The protagonist observes that if body that insist her to remove them from the room. Muraleedharan were, he would be able to understand why the bird’s beak and feet were grey. Not only from children but also from husband she resolves to disappear. “Telling the ayah Before telling the entire tale he might have asked of the swift movement of the vessel. She he didn’t want any supper, my husband came to the children’s room. I quickly slipped into the doesn’t blame all the men as a spiteful critic but tries to find persons from other gender who will darkness beneath their bed. “This is a game”. (15) carry her thought. “Tharavad” another soothing place for everyone fill her thoughts with the death of Murali and his mother whose eyes were as cold and empty as the afternoon. But some The darkness, the lonely thoughts, and flooded images of Muralidharan, husband, Cousin others, different from the person like Murali, did not express a better glimpse. “Look, what are Unni Ettan and in the end – the bird in the snow drags her to different fields of a woman’s life. your problems? I’ll solve them all. If we are all with one another, how can there be problems? Throughout the story, like nature, the ‘nature’ of her was exploded by the dominant figures. Then let us walk through the cool afternoon, immersed in talk” (13). Both victims of course, experienced their own uprooting and have resisted it, sacrifice for the ‘larger’. The planned destruction of nature and women no longer appear negligible. “We are the bird’s eggs. Bird’s eggs, flowers, butterflies, rabbits, cows, sheep; we are caterpillars; we are leaves of Ivy and Springs of Wall flower. We are women. We rise from the Though the story ends up showing the inability of the narrator, it doesn’t make a futile end. wave. We are gazelle and doe, elephant and whale, lilies and roses and peach, we are air, we “I started up, meaning to talk about the bird in the snow. But I thought better of it, for I was are flame, we are crystal and pearl, we are girls. We are women and nature. And he says he beginning to forget. Yesterday I had another dream. I could tell him about that if I wanted to cannot hear us speak. But we hear.” – (Susan Griffin, woman nature: The Roaring Inside Her)...... ”(16). They will struggle against rulers, will embrace development of mind, resist uprooting before it begins and will find the identity. Exactly; she listens to everything but her throat would go dry when she thinks of speaking, reserving all things for the night. Many people understand the need to change their way of The ability to integrate critically the norms that find individually, together with her will to thought. But here the narrator likes her dream, thought etc more than the worldly bondage. She break free of them is what make the new woman different. She is able to perceive how social believes perhaps the servant had taken the children to the park. The progression in narrator’s conventions perpetuate themselves. She subverts them with confidence as she realizes they consciousness is because of her total disenchantment with all that is domineering, all that is rest on rhetoric of polarities, the positives and negatives of social sanction. Recognitions of this based on pure reason. The existential problems of adjustment insist her to hide from the material key principle and the hierarchy implicitly relating the positives and negatives enable her to life. deconstruct norms and escape from the closed structures they establish. But the escape from the logic of binary opposites that regulates the thinking of men and by extension the lives of “I hid in the dark behind the door leading to the balcony. The children ran through the house every man and woman becomes possible only in defining a distinct space for oneself. O.V. looking for me” (14) The cold of the curtain creeper’s leaves carries her to another thought; Usha’s “Suspended Soil” describes a species of wasp, popularly believed to have been exiled by Unni Ettan, cousin tried to hug her in the temple of the tharavad fills her eyes with tears. The idol God from both heaven and earth, which is why it builds nests that hang suspended in mid-air, that originated in the mind crashed and she compares with the crash that happened in the dining using soil that is mixed with its body secretions. Women maybe doomed like the wasps, drowned table. She likes to deviate from cultural and social norms prescribed for her present life. She by the earth and cast out from heaven, but they secure their own world for themselves in the longs to live like a modern woman who wanted to go far away from the disturbing surroundings space between. In this twilight zone, dreams blossom forth and turn realities. The wasps nest and lives on her own thoughts. However, keeping a distance from her duties means not to forget does not symbolize escape from mundane reality but shows how women’s experiences are her family, every time she recognizes the events in her home. intimately involved with this reality without being wholly in it.

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As majority of Indian women, the owner of Shailaja decides her life in the story, “Suspeneded Soil”. Initially it was her father who decided what she should study and what to avoid. It can be noted that each time she had got an opportunity to choose her life. Devarajan, her infatuation in her teenage days didn’t groom her as a mere village girl but forced herself to study well and get admission to study medicine. “But it was Devarajan’s pride in her achievements that led her to decide on leaving home to study. He was then taking his final examinations as a graduate student.”(20) Fasting and pleading as a protest against marriage arranged by her father proved futile. He was a person who said what he meant. Threatening to commit suicide he succeeds in his wish. But Shailaja had always thought of suicide as an act of rebellion against God. Marriage with Balachandran, she found her life pulling for rules at the place it had come to rest. Making her shocked he proved as a good doctor, an even better human being gives her happiness. When she was in hospital, Devarajan comes and reminds of his character in a trembling voice, “Once, I did not have the understanding to give you strength, now, I don’t have the ability.”(22) That was the first time in years she broke down. The presence of Anadakrishnan, her childhood friend and cousin allows her to travel in her childhood memories and her father’s family home. A bunch of Kadamba flowers permits her to embrace once again the family life. In the first, like every woman, she was illiterate to identify the man who came as a savior but not, “When you told me everything, it meant that you gave your past over to me. Now it is not yours to worry over. It has become my experience; you have no claim all over it.”(19) The relevance of the idea of women’s equality remains largely marginal. Most men are still steeped in the perverted values of male supremacy. They are totally insensitive to the sense of ‘self’ in women and nature. Men always view nature and women as subjects for consumption. The ‘wasp’ in the story, stands as a sense of her senselessness. “The ways of this creature! If it feels drawn to a place it makes it its own! Can’t you see its piece of soil suspended without touching the ground?”(25) A flash of light sears and trembles inside her. “She felt the painful light inside her becoming sharper and sharper, burning her, blowing out across the whole world.”(26) “The wasp drawing on its body juices and mixing them with powdered sand to build nests that would be smashed by human beings.”(26) Wasp, birds, snakes, women and all creatures know that they are closely related to each one’s life. Each life of an animal creature or the ‘nature’ itself woman can trace her own life. That’s why Shailaja ran up to Anandakrishnan and held him, stands as protester of her fellow beings. These stories spell out the writers’ feminist vision, an acute consciousness of the woman’s body. They describe women gaining control over their bodies and disowning the norms enforced

39 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

As majority of Indian women, the owner of Shailaja decides her life in the story, “Suspeneded by the society. Their resistance comes out as an understanding that though intensively private, Soil”. Initially it was her father who decided what she should study and what to avoid. It can be the body and its responses are conditioned by patriarchal norms acceptable to the public at noted that each time she had got an opportunity to choose her life. Devarajan, her infatuation in large. Though the characters are having little inhibitions, they have a strong assertive individuality her teenage days didn’t groom her as a mere village girl but forced herself to study well and get which includes the capability to take decisions about their life and execute them. The three admission to study medicine. “But it was Devarajan’s pride in her achievements that led her to stories bring woman into the realization of her ‘Nature’ and identify herself with nature. Female decide on leaving home to study. He was then taking his final examinations as a graduate sexuality and the female body are central to various caste-based practices where the body student.”(20) Fasting and pleading as a protest against marriage arranged by her father proved becomes the primary locus of the ideas of purity and pollution which sanction inclusion and futile. He was a person who said what he meant. Threatening to commit suicide he succeeds in exclusion. his wish. But Shailaja had always thought of suicide as an act of rebellion against God. Marriage with Balachandran, she found her life pulling for rules at the place it had come to Works cited rest. Making her shocked he proved as a good doctor, an even better human being gives her happiness. When she was in hospital, Devarajan comes and reminds of his character in a trembling 1. The Samyuktha anthology of Malayalam stories. Elected by G.S.Jayasree and voice, “Once, I did not have the understanding to give you strength, now, I don’t have the Sreedevi.K.Nair. New Delhi: Tulik,2006-print. ability.”(22) That was the first time in years she broke down. 2. Mies, Mariya; Shiva, Vandana. Ecofeminism. New Delhi, Kali for women, 1993-print. The presence of Anadakrishnan, her childhood friend and cousin allows her to travel in her 3. Evans, Judith- Feminist Theory Today, New Delhi, sage, 1995-print. childhood memories and her father’s family home. A bunch of Kadamba flowers permits her to embrace once again the family life. In the first, like every woman, she was illiterate to identify the man who came as a savior but not, “When you told me everything, it meant that you gave your past over to me. Now it is not yours to worry over. It has become my experience; you have no claim all over it.”(19) The relevance of the idea of women’s equality remains largely marginal. Most men are still steeped in the perverted values of male supremacy. They are totally insensitive to the sense of ‘self’ in women and nature. Men always view nature and women as subjects for consumption. The ‘wasp’ in the story, stands as a sense of her senselessness. “The ways of this creature! If it feels drawn to a place it makes it its own! Can’t you see its piece of soil suspended without touching the ground?”(25) A flash of light sears and trembles inside her. “She felt the painful light inside her becoming sharper and sharper, burning her, blowing out across the whole world.”(26) “The wasp drawing on its body juices and mixing them with powdered sand to build nests that would be smashed by human beings.”(26) Wasp, birds, snakes, women and all creatures know that they are closely related to each one’s life. Each life of an animal creature or the ‘nature’ itself woman can trace her own life. That’s why Shailaja ran up to Anandakrishnan and held him, stands as protester of her fellow beings. These stories spell out the writers’ feminist vision, an acute consciousness of the woman’s body. They describe women gaining control over their bodies and disowning the norms enforced

39 40 Ecoaesthetics and Literature

5 Imagining a Sustainable Utopia out of Contemporary Dystopia: Reading Gift in Green as a Paradigm of Ecofeminism

Niji C. I.

In a world shrouded by pollution and exploitation of nature and the subordination and oppression of women, a place to take refuge is a topical necessity. A socio-political movement that would address and challenge all forms of domination is the need of the hour. In such a historic context, Ecofeminism offers a holistic approach and an alternative to all forms of domination. The eminent French feminist Francoise d’Eaubonne coined the term ‘ecofeminism’ in 1974. It was further developed by Ynestra King and in 1980’s it became a movement. Ecofeminism builds on existing theories of feminism and ecology and selects sustainable future over anything else. Ecofeminism is both an ideology and a movement aimed at the revival of women and nature along with all the other deprived entities. When there is conflict and confusion in the society, writers often aim to right societal wrongs. This predisposition of the author to right the wrongs has often resulted in the creation of a fiction that can be either utopia or dystopia. “While all writers are products of a particular historical moment, writers of utopian literature tend to broadcast their time period. This may be explained by the writer’s predisposition to right the societal wrongs.” (McGuire, 193) The perspective of the author on hope or despair determines the fiction to be a utopia or dystopia respectively. But often the demarcation gets merged and the fiction inculcates both aspects. In an age of environmental issues the writer may posit both a utopian or dystopian world revolving around environmental conservation or destruction and an ectopia or Green utopia might be the result. Sarah Joseph’s fiction belongs to the genre called Ecriture Feminine in Malayalam literature. She is celebrated as a feminist writer in Kerala and her writing focuses on the marginalised, deprived and voiceless women. But in a close reading we can trace ecofeminist literary interests inherent in her stories. When we come to novels like Alahayude Penmakkal or Othappu,

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lenience towards ecological awareness is quite explicit in her writing. Gift in Green, however stands apart as a novel that is baptised in the waters of ecological concern. This paper is intended to analyse the creation of a utopia, or rather an ecotopia from a dystopia. Ecofeminism as a theory based on the inclusiveness of nature, human, human- other proposes a new world that is sustainable and interconnected. Sarah Joseph created a haven of inclusiveness, where 5 the writer and the society at large want to shed away the burdens of reality. It is a fountain- Imagining a Sustainable Utopia out of Contemporary Dystopia: spring of life to remain submerged so that one should have regeneration. . Reading Gift in Green as a Paradigm of Ecofeminism The non linear structure of the novel helps the author to weave a utopia in the setting of the novel. There are two Aathis in Gift in Green. Kumaran’s entry demarked the land into utopia Niji C. I. and dystopia. Pre-Kumaran Aathi, (modelled on Valanthakkadu, an island in Kochi, Kerala) is portrayed as the most beautiful place, surrounded by water and the Green Bangle; the mangrove. It is an ideal community, just like any other utopia, living in tune with serene nature. Though they are just a few kilometres away from the city life their culture is different afar from that of the In a world shrouded by pollution and exploitation of nature and the subordination and main land. Theft is unheard of in this land of mutual faith and dependence. They have only one oppression of women, a place to take refuge is a topical necessity. A socio-political movement festival, only one belief system, only one custom. Their needs are limited and money is not that would address and challenge all forms of domination is the need of the hour. In such a considered as an asset.The land and the surrounding water is their wealth. They live in harmony historic context, Ecofeminism offers a holistic approach and an alternative to all forms of with nature and never seek more than what they want. Nature is an extension of their selves. domination. The eminent French feminist Francoise d’Eaubonne coined the term ‘ecofeminism’ They have a peaceful system of governance through their community gathering where the in 1974. It was further developed by Ynestra King and in 1980’s it became a movement. Elder was honoured and obeyed. They shared a common ancestry and lived in equality. Their Ecofeminism builds on existing theories of feminism and ecology and selects sustainable future environment was safe and sustainable. Sarah Joseph, describes this utopian Aathi in the following over anything else. Ecofeminism is both an ideology and a movement aimed at the revival of words. women and nature along with all the other deprived entities. “An island dotted with waterbodies, marshland and slush. Surrounded by backwaters, it lay When there is conflict and confusion in the society, writers often aim to right societal secluded from the rest of the world. The forest on the island stood nearly submerged in water. wrongs. This predisposition of the author to right the wrongs has often resulted in the creation of It sloped from east to the west. During high tide, salt water rose and climbed on Aathi.” (43) a fiction that can be either utopia or dystopia. “While all writers are products of a particular historical moment, writers of utopian literature tend to broadcast their time period. This may be It is to this utopian world Gitanjali comes with her daughter Kayal, violated in the city, to explained by the writer’s predisposition to right the societal wrongs.” (McGuire, 193) The seek the healing power of the purified water. She was advised to “let her see water, hear the perspective of the author on hope or despair determines the fiction to be a utopia or dystopia sound of water, play with water. She is sure to improve.” (Joseph 57) At that time Aathi’s respectively. But often the demarcation gets merged and the fiction inculcates both aspects. In water was as pure as crystal and one can see the bottom of water. Sarah says,” In Aathi, the air an age of environmental issues the writer may posit both a utopian or dystopian world revolving was light, the water pristine and the wind pure.” (61) With the cool fingers of water, Aathi around environmental conservation or destruction and an ectopia or Green utopia might be the touched Kayal and healed her mind and body. Kayal’s rejuvenation at Aathi, reiterates the result. purity of this utopia. When the author describes this land, the language becomes poetical. Sarah Joseph’s fiction belongs to the genre called Ecriture Feminine in Malayalam literature. The interconnectedness of the people of Aathi, between themselves and nature has strong She is celebrated as a feminist writer in Kerala and her writing focuses on the marginalised, theoretical basis in the ecofeminist theory. The Utopian Aathi exists with the experiences of deprived and voiceless women. But in a close reading we can trace ecofeminist literary interests Kunjimathu, Kayal, Shylaja, Dinakaran and the Pokkali yielding fields and mangrove nursery of inherent in her stories. When we come to novels like Alahayude Penmakkal or Othappu, the shrimps. The Aathi that Kunjimathu knows was a utopia where man, woman, non-human

41 42 Ecoaesthetics and Literature other lives in harmony. Water and mud was not the external environment but the environment within the Aathians. The philosophy of life for Kunjimathu often identifies with an affinity towards ecofeminism. For her, water and woman is similar. The physiological equality enables her to experience the changes in nature in her body just as water changes its course according to the season. The change from a utopian serenity to the dystopian trauma was first realised by her because of this affinity with nature. Her night vigil to bring back water kicks off the protests in Aathi. Shylaja, the brave fighter, too is immersed in this utopian Aathi. Her concepts regarding life is centred round the purity of Aathi. Her body and soul are as clean and pure as the waters of Aathi. Being a woman of purity, she refuses to live in Chakkumkandam her marital home. Her confrontation with the garbage shook her to the core that she joined in the radical kind of protest to save her utopian world. The survival on this planet is made possible only through the realisation of the interconnectedness and importance of each entity in this world to promote life on earth. Dinakaran internalised this ecofeminist idea to its utmost possibility that for him Aathi has to survive and stand for the sake of its children and grandchildren, sparrows and parrots. He believed that the life is worth living only when it is lived with nature. His awareness comes from a realization of the interconnectedness of all things, human, non-human other and nature in the sustainable world. To preserve this Utopian serene world, he acts as a mediator, as an activist, as a negotiator and at last performs a sacrifice. He kept Aathi in his heart into such an extent that self sacrifice alone seems a befitting method to retrieve the Aathian waters and land. By accepting women’s lead role in recreating Aathi, Dinakaran recognise the woman nature equation in its positive sense and became an example of male partnership in the development of an ethic of caring for nature. He became an ecofeminist as Ariel Salleh conceptualised in her book Ecofeminism as Politics, Nature, Marx and the Post Modern. An ecofeminist is anybody who carries out ecofeminist activities. That is the term applies to a man or woman whose political actions support the premise that the domination of nature and domination of woman are interconnected. (108) For the women of Aathi, their land is a reality that they internalised through generations of collective consciousness. They are the custodians of Aathi’s traditions and memory. The oral history of their land was handed over to the generations through them. The stories of Aathi’s origin and the practises of their rituals were continued intact by the mothers of Aathi. They bore the utopia like Aathi in their bodies and minds. For them Aathi provided everything they had. Their pots were full with Pokkali rice, fish and mussels. They never had to buy fish or vegetables. With the arrival of Kumaran and his dream project that serene life had gone.

43 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal other lives in harmony. Water and mud was not the external environment but the environment Bizarre conditions in Chakkumkandam, another setting in Gift in Green, foretell the destiny within the Aathians. The philosophy of life for Kunjimathu often identifies with an affinity towards that awaits Aathi. Chakkumkandam the place near Guruvayoor became a land of waste and ecofeminism. For her, water and woman is similar. The physiological equality enables her to human excreta within a span of thirty to forty years. Through the maldevelopment of government, experience the changes in nature in her body just as water changes its course according to the this once beautiful and pure land was made to a nightmare. The sewage from Guruvayoor season. The change from a utopian serenity to the dystopian trauma was first realised by her flowed to Chakkumkandam kayal polluted the land and water with choli form bacteria. Shylaja’s because of this affinity with nature. Her night vigil to bring back water kicks off the protests in frightening experience at Chakkumkandam lately fell on her island as curse. Aathi. The novel starts with an impending danger and destruction that is going to engulf the island. Shylaja, the brave fighter, too is immersed in this utopian Aathi. Her concepts regarding life The corporate capitalism made inroads to Aathi through Kumaran. He believed that “the earth is centred round the purity of Aathi. Her body and soul are as clean and pure as the waters of is to be dominated by male developed and controlled technology, science and technology.” Aathi. Being a woman of purity, she refuses to live in Chakkumkandam her marital home. Her (Merchant, 191) He was the one who abandoned Aathi for money and for bigger dreams. Aathi confrontation with the garbage shook her to the core that she joined in the radical kind of protest is only a place of profit for Kumaran who proposed a million rupees project for Aathi. With his to save her utopian world. corporate power and money he won the sanction to land fill the field and the lake. The destruction The survival on this planet is made possible only through the realisation of the of Aathi started with this project. Aathi became a dumping yard of filth from city. The mangrove interconnectedness and importance of each entity in this world to promote life on earth. Dinakaran was set on fire. The water putrefied and typhoid killed the children of Aathi. Famine and hunger internalised this ecofeminist idea to its utmost possibility that for him Aathi has to survive and set in as they could not cultivate due to the granite embankment that prevented the entry of the stand for the sake of its children and grandchildren, sparrows and parrots. He believed that the water. Separatism creeps in to the community dividing them into fractions. The authority of the life is worth living only when it is lived with nature. His awareness comes from a realization of Elder is questioned and people began to clash among themselves. Through Ambu, Prakashan the interconnectedness of all things, human, non-human other and nature in the sustainable and the magician, the propaganda for a developed land is induced. Thampuran’s shrine replaced world. To preserve this Utopian serene world, he acts as a mediator, as an activist, as a negotiator with upper caste deities. Aathi became a dystopia that awaits a sacrifice to set things right. and at last performs a sacrifice. He kept Aathi in his heart into such an extent that self sacrifice Resistance to ward off destruction of the utopian Aathi starts with the blocking of tippers alone seems a befitting method to retrieve the Aathian waters and land. By accepting women’s that came for land filling. The people of Aathi realised that the destruction of the wateribodies lead role in recreating Aathi, Dinakaran recognise the woman nature equation in its positive will culminate in the destruction of their lives. In this resistance, women of Aathi took a major sense and became an example of male partnership in the development of an ethic of caring for position. Their struggle to find bread for their family, take them to the forefront of protest. nature. He became an ecofeminist as Ariel Salleh conceptualised in her book Ecofeminism as Ecofeminism started at grass root level as a response to issues and problems faced by the Politics, Nature, Marx and the Post Modern. community or by the individual. These women also start their agitation at the grass root level to An ecofeminist is anybody who carries out ecofeminist activities. That is the term applies live and let live. They internalised the destruction and violation of nature as the domination and to a man or woman whose political actions support the premise that the domination of nature physical abuse of the women’s body and mind. Death of their children due to typhoid was seen and domination of woman are interconnected. (108) on par with the destruction of the fresh water fingerlings at the green bangle. They heard the cry of the birds and fields. They experienced the emptied granaries of the kitchen and the For the women of Aathi, their land is a reality that they internalised through generations of emptiness of the granaries of nature. They understood the meaninglessness of wars and collective consciousness. They are the custodians of Aathi’s traditions and memory. The oral fractionism and were afraid of the consequence of it. Through their dystopian experience in history of their land was handed over to the generations through them. The stories of Aathi’s comparison to the utopian sublimity, they began the resistance to set things right. By demolishing origin and the practises of their rituals were continued intact by the mothers of Aathi. They bore the walls of Thampuran, they challenged the separatist attitude of the patriarchal spiritual world. the utopia like Aathi in their bodies and minds. For them Aathi provided everything they had. Later they found that destruction is not the answer to domination. The retrieval of their utopian Their pots were full with Pokkali rice, fish and mussels. They never had to buy fish or vegetables. world necessitated construction and creation and they began the constructive work through With the arrival of Kumaran and his dream project that serene life had gone.

43 44 Ecoaesthetics and Literature collective farming of the Pokkali field. Women are more concerned with the long term gains of saving the forests and environment and hence more concerned with subsistence and survival issues. Sarah herself said that Aathi is neither a Utopia nor an escapist world of make believe. Even today we can find Aathi like places of primeval purity. Then what could justify the use of utopia in the title? It is because all the places of purity are succumbing to the inroads of capitalist, corporate development. Instead of the village surrounding the cities, now we find cities surrounding, suffocating and destroying villages. A utopia is created here to discuss the impending disaster and also to voice out the possibilities of a better world. The irrational logic of hoping against hope is the criteria to create such a utopia. Here Sarah does not want to escape into an imaginary world like many other Utopian novelists do but created a world from a real land; coloured it through her imagination, added what she expects of a sustainable world and then breathed life in to it. Thus Aathi was created as a “place where theories of power can be addressed through the construction of narratives that test and stretch the boundaries of power in its operational details” (Bartkoski 5). In Gift in Green we can hear a voice for preserving the earth for the future. The theme of the novel is the preservation of nature; its land, its mud, its water, its creatures and compassion for the coming generations. Aathi is not a place of inactivity but a place where much had happened and still is happening. The life of the people in Aathi is evolved in water or rather by water. Their strength to protect and protest comes from their awareness of the elixir of life, water. Here water is not a mere combination of Hydrogen and Oxygen; it is much more than that. It is the very life as Hagar calls it. It is the rejuvenating medicine as Kayal felt it. For the people of Aathi it is their livelihood. It is the meaning and the reality to which the story tellers exhort the people of Aathi to awaken. Life was a constant struggle for the people of Aathi from the very beginning of their life. The search for a place to start anew their life had driven them to Aathi. Kaliyappans wanderings and sufferings unto slavery gained them the knowledge and possession of a rice seed that is suitable for their wetland. Through their sweat and pain they created Aathi. People of this island are not deluded by the consumerist interest that exploits nature all over the world. Their life is not built on delusions regarding the supremacy of man over nature. For them nature is a fixed deposit and their philosophy of life centred on an interconnectedness between human and nature. This seems to be a utopian philosophy in the contemporary world. Still this philosophy is the essence for the people of Aathi to continue their struggle and resistance to face the extinction of their world. Utopian novels are often branded as propaganda and their writers are called propagandist. Bartkoski in her Feminist Utopias observes that the utopian voice is always tendentious; it has

45 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal collective farming of the Pokkali field. Women are more concerned with the long term gains of designs on the reader. Often its didactic points are made in the form of long monologues and saving the forests and environment and hence more concerned with subsistence and survival polemics and are just those aspects by which literary critics have often deemed it a marginal issues. kind of fiction- a cross breead of tract made palatable as literature through a poetry and hastily Sarah herself said that Aathi is neither a Utopia nor an escapist world of make believe. constructed romance. (9) Even today we can find Aathi like places of primeval purity. Then what could justify the use of Gift in Green surprises the reader through its poetical narration. We never find the utopia in the title? It is because all the places of purity are succumbing to the inroads of capitalist, propagandist un-literariness in the novel. The smooth and cascading effect of narration, takes corporate development. Instead of the village surrounding the cities, now we find cities surrounding, the readers through the intricate ways of Aathi, as if taking a boat ride through the Greenbangle suffocating and destroying villages. A utopia is created here to discuss the impending disaster that surrounds Aathi. and also to voice out the possibilities of a better world. The irrational logic of hoping against hope Sarah Joseph juxtaposed the two worlds, the pre- Kumaran Aathi and post- Kumaran is the criteria to create such a utopia. Here Sarah does not want to escape into an imaginary Aathi, in order to lament the loss of the utopian purity and also to create awareness toward the world like many other Utopian novelists do but created a world from a real land; coloured it degradation of the environment. Through this kind of awareness creation she urges the readers through her imagination, added what she expects of a sustainable world and then breathed life in to realize the need of recreating a possible sustainable world. Dinakaran’s sacrifice, Advocate to it. Thus Aathi was created as a “place where theories of power can be addressed through the Chally’s victory at the court and the women of Aathi’s endeavour to restart farming proposes construction of narratives that test and stretch the boundaries of power in its operational details” the reviving of the lost utopia this ectopia or environmental utopia is not an unattainable one as (Bartkoski 5). far as the ecofeminist perception is considered. It is possible but with the active interventions of In Gift in Green we can hear a voice for preserving the earth for the future. The theme of the society to reclaim the lost world. This reclaiming is made possible through an all inclusive the novel is the preservation of nature; its land, its mud, its water, its creatures and compassion philosophy like ecofeminism. for the coming generations. Aathi is not a place of inactivity but a place where much had happened and still is happening. The life of the people in Aathi is evolved in water or rather by water. Their strength to protect and protest comes from their awareness of the elixir of life, Works cited water. Here water is not a mere combination of Hydrogen and Oxygen; it is much more than Bartkoski, Frances. Feminist Utopias.Lincoln: University of Nebraska Press.1989. Print that. It is the very life as Hagar calls it. It is the rejuvenating medicine as Kayal felt it. For the Joseph, Sarah. Gift in Green. Trans. Valson Thampu. India; Harper Collins. 2011. Print. people of Aathi it is their livelihood. It is the meaning and the reality to which the story tellers exhort the people of Aathi to awaken. Life was a constant struggle for the people of Aathi from McGuire, Cathleen and Colleen McGuire “Grass-Roots Ecofeminism: Activating Utopia”. 186- the very beginning of their life. The search for a place to start anew their life had driven them to 203 Ecofeminist Literary Criticism theory, Interpretation, Pedagogy. Ed: Gaard Greta, Patrick Aathi. Kaliyappans wanderings and sufferings unto slavery gained them the knowledge and D. Murphy. Illinois: UIP. 1998. Print. possession of a rice seed that is suitable for their wetland. Through their sweat and pain they Salleh, Ariel. Ecofeminism as Politics, Nature, Marx and the Post Modern. London: Zed Books. created Aathi. People of this island are not deluded by the consumerist interest that exploits 1997. Print. nature all over the world. Their life is not built on delusions regarding the supremacy of man over nature. For them nature is a fixed deposit and their philosophy of life centred on an interconnectedness between human and nature. This seems to be a utopian philosophy in the contemporary world. Still this philosophy is the essence for the people of Aathi to continue their struggle and resistance to face the extinction of their world. Utopian novels are often branded as propaganda and their writers are called propagandist. Bartkoski in her Feminist Utopias observes that the utopian voice is always tendentious; it has

45 46 Ecoaesthetics and Literature

6 Eco- friendly sculptures: An analysis of Andy Goldsworthy’s work using Gaia Hypothesis

Krupa & Geons Jose

Andy Goldsworthy is a Scottish sculptor who makes luscious {sense pleasing] sculptures entirely out of things he finds in nature- stones, twigs, leaves, plant stalks, clay, ice, snow. In a documentary named Rivers and Tides directed by Thomas Riedelsheimer, we get to know more about this wonderful artist and his works that are greatly philosophical too. According to film critics like Frederic and Mary Ann Brussat Goldsworthy in this documentary is seen working on new creations as he explains his philosophy that brings together a Zen- like approach of the natural world a deeply felt connection with the Earth and all its thousand things, a fascination with time and the ephemeral existence of objects, a respect for place and all the marvels discovered within a space that one knows intimately, and a yearning to explore the energy that is running through the landscape. Sometimes his works change before our eyes and even pass away before we have understood their mystery and magic. But to the artiste, this is all part of the process. The Gaia Hypothesis, also known as gaia theory or gaia principle proposes that all organisms and their inorganic surroundings on earth are closely integrated to form a single and self re- regulating complex system, maintaining the conditions for life on the planet. The scientific investigation of the gaia hypothesis focuses on observing how the biosphere and the evolution of life forms contribute to the stability of global temperature, ocean salinity. Oxygen in the atmosphere and other factors of habitability in a preferred homeostasis. It was James Lovelock a chemist who formulated The Gaia hypothesis. It was co-developed why the micro biologist Lynn Margulis in the 1970’s. Before moving to the analysis of the documentary, let’s see the basic tenets of Gaia hypothesis.

47 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

The Gaia theory posits that the earth is a self regulating complex system involving the biosphere, the atmosphere, the hydrosphere, tightly coupled as an evolving system. The theory sustains that this system as a whole, called Gaia seeks a physical and chemical environment optimal for contemporary life. 6 Gaia involves through a cybernetic feed back system operated unconsciously by the biota, leading to broad stabilization of the conditions of habitability in a full homeostasis. Many processes Eco- friendly sculptures: An analysis of Andy in the earth’s surface essential for the conditions of life depend on interaction of living forms, Goldsworthy’s work using Gaia Hypothesis especially micro organisms, with in organic elements. These processes establish a global control system that regulates earth’s surface temperature, atmosphere composition and ocean salinity, Krupa & Geons Jose powered by the global thermo dynamic disequilibrium state of the earth system. The existence of planetary homeostasis influenced by living forms had been observed previously in the field of biochemistry, and it is being investigated also in other fields like Earth Andy Goldsworthy is a Scottish sculptor who makes luscious {sense pleasing] sculptures system sciences. The originality of the Gaia theory relies on the assessment that such homeostatic entirely out of things he finds in nature- stones, twigs, leaves, plant stalks, clay, ice, snow. In a balance is actively pursued with goal of keeping the optimal conditions for life’s, even when documentary named Rivers and Tides directed by Thomas Riedelsheimer, we get to know terrestrials or external events menace them. more about this wonderful artist and his works that are greatly philosophical too. According to The major tenets of this theory are:- film critics like Frederic and Mary Ann Brussat Goldsworthy in this documentary is seen working on new creations as he explains his philosophy that brings together a Zen- like approach of the 1. The earth system behaves as a single, self-regulating system with physical, chemical, natural world a deeply felt connection with the Earth and all its thousand things, a fascination biological and human components. The interactions and feedbacks between the component with time and the ephemeral existence of objects, a respect for place and all the marvels parts are complex and exhibit multi-scale temporal and spatial variability. The understanding of discovered within a space that one knows intimately, and a yearning to explore the energy that the natural dynamics of the Earth system has advanced greatly in recent years and provides a is running through the landscape. Sometimes his works change before our eyes and even pass sound basis for evaluating the effects and consequences of human-driven change. away before we have understood their mystery and magic. But to the artiste, this is all part of 2. Human activities are significantly influencing Earth’s environment in many ways in the process. addition to greenhouse gas emissions and climate change. Anthropogenic changes to Earth’s The Gaia Hypothesis, also known as gaia theory or gaia principle proposes that all organisms land surface, oceans, coasts and atmosphere and to biological diversity, the water cycle and and their inorganic surroundings on earth are closely integrated to form a single and self re- biogeochemical cycles are clearly identifiable beyond natural variability. They are equal to some regulating complex system, maintaining the conditions for life on the planet. of the great forces of nature in their extent and impact. Many are accelerating. Global change is real and is happening now. The scientific investigation of the gaia hypothesis focuses on observing how the biosphere and the evolution of life forms contribute to the stability of global temperature, ocean salinity. 3. Global change cannot be understood in terms of a simple cause-effect paradigm. Human Oxygen in the atmosphere and other factors of habitability in a preferred homeostasis. driven changes cause multiple effects that cascade through the earth system in complex ways. These effects interact with each other and with local- and regional-scale changes in It was James Lovelock a chemist who formulated The Gaia hypothesis. It was co-developed multidimensional patterns that are difficult to understand and even more difficult to predict. why the micro biologist Lynn Margulis in the 1970’s. 4. Earth system dynamics are characterized by critical thresholds and abrupt changes. Before moving to the analysis of the documentary, let’s see the basic tenets of Gaia Human activities could inadvertently trigger such changes severe consequences for Earth’s hypothesis. environment and inhabitants. The earth system has operated in different states over the last half

47 48 Ecoaesthetics and Literature million years. With abrupt transitions (a decade or less) sometimes occurring between them. Human activities have the potential to switch the Earth system to alternative modes of operation that may prove irreversible and less hospitable to humans and other life. The probability of a human –driven abrupt change in Earth’s environment has yet to be quantified but is not. 5. In terms of some key environmental parameters, the Earth System has moved well outside the range of the natural variability exhibited over the last half million years at least. The nature of changes now occurring simultaneously in the Earth System, their magnitudes and rates of change are unprecedented. The Earth is currently operating in a non-analogue state. Andy Goldsworthy has himself starred in this documentary which won the best documentary awards of the San Diego film critic society and the San Francisco film critics circle. It was released in 2003. It begins by presenting the artiste going in search of a new work place among the icy mountains and a river side. He says, “Art for me is a form of nourishment”, and we see what he means as he begins to assemble his earth work arrangements. He is able to nourish himself as he is closely inter-related or inter-depended on nature. He seems to understand that the earth system behaves as a single, self regulating complex system which is hailed by the Gaia theory. Arriving for a new commission in Nova Scotia, he has only a little time to familiarize himself with the seaside terrain, Still, he establishes a camaraderie with the natural world: “I’ve shook hands with the place,” he declares as he begins to work on an icicle sculpture that fits perfectly with the chilly and desolate milieu. Goldsworthy respects the processes of life and death reflected in nature. As the sun illuminates the finished sculpture, he notes, “The very thing that brought it to life, will bring about its death. “This is only one of the many spiritual insights emerging from his art. He creates an igloo out of driftwood collected from the beach, when the tide comes in, the wooden structure begins to float and then drift to the sea in a slow swirl. But Goldsworthy is not attached to his art: “It feels as if it’s been taken off into another plane, another world… it doesn’t feel at all like destruction.”Unlike many others, he is able to accept the natural fate meted out to his works. At the beginning, although he says that it indeed is a bit disappointing stands thathe realizes the great truth that it is only transformation that is taking place and not destruction. Similarly, like what Gaia proposes, he understands that there is no complete extinction but mere transformation of energy from one form to another. The artist also doesn’t think in terms of success or failure. After he has spent many hours constructing an intricate mobile of twigs and thorns, the wind shifts and the piece collapses. Goldsworthy surveys the wreckage and practices equanimity. He seems to know that sometimes

49 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal million years. With abrupt transitions (a decade or less) sometimes occurring between them. the magic works and sometimes it doesn’t. What’s important is that the creative process itself Human activities have the potential to switch the Earth system to alternative modes of operation has been manifested along with an intimate meeting with “the heart of the place.” Nothing is that may prove irreversible and less hospitable to humans and other life. The probability of a ever lost in the universe. There is always something to be cherished in this kind of environmental human –driven abrupt change in Earth’s environment has yet to be quantified but is not. art .We may find it paradoxical when the artist says that, “his every effort is to make something effortless”. At a point the artiste says that, he is trying to make a storm or rather that his contact 5. In terms of some key environmental parameters, the Earth System has moved well with the storm is so strong. He readily gives his works of art to the sea as a gift, when it actually outside the range of the natural variability exhibited over the last half million years at least. The takes it away from him. This is a natural phenomenon which he can’t control. He says that, as nature of changes now occurring simultaneously in the Earth System, their magnitudes and a person he accepts the upheavals and shocks in life with the same ease and calmness. We just rates of change are unprecedented. The Earth is currently operating in a non-analogue state. have to understand the fact that, nothing gets extinct but merely transforms. Andy Goldsworthy has himself starred in this documentary which won the best documentary Andy Goldsworthy makes us aware of how we should make this happen, in accordance awards of the San Diego film critic society and the San Francisco film critics circle. It was with nature. That is, if we do not allow things to happen in a natural order and exerts human released in 2003. It begins by presenting the artiste going in search of a new work place among control on it environmental changes happen as pointed out by the second hypothesis of Gaia. the icy mountains and a river side. He says, “Art for me is a form of nourishment”, and we see There is a scene where Goldsworthy is trying to build a monument with stones. After a long what he means as he begins to assemble his earth work arrangements. period of time, he picks one and keep it on top of the so far collected and built. In no time it He is able to nourish himself as he is closely inter-related or inter-depended on nature. He collapses. This whole scene can be seen as a symbolic representation of the third hypothesis. It seems to understand that the earth system behaves as a single, self regulating complex system is his incorrect judgment that caused the entire thing to collapse and not just the simple cause- which is hailed by the Gaia theory. effect paradigm of nature. Arriving for a new commission in Nova Scotia, he has only a little time to familiarize himself Many a times, we see that the artist follows a serpent like figure in his works or in a with the seaside terrain, Still, he establishes a camaraderie with the natural world: “I’ve shook stream while looking at it etc. According to Indian tantric philosophy and Yoga, there lies in hands with the place,” he declares as he begins to work on an icicle sculpture that fits perfectly everyman a great source of energy which is called the Kundalini power. This dormant lying with the chilly and desolate milieu. Goldsworthy respects the processes of life and death reflected power is invoked through various methods. It takes the shape of a serpent. In this context, we in nature. As the sun illuminates the finished sculpture, he notes, “The very thing that brought it can say that Goldsworthy is actually in search of this great power within us. to life, will bring about its death. “This is only one of the many spiritual insights emerging from Thus, Goldsworthy’s works probe us to think that seeing divinity in nature is in a way seeing his art. divinity within ourselves. It states like Gaia principle that Art and Artiste is not different from He creates an igloo out of driftwood collected from the beach, when the tide comes in, the nature but just part and parcel of the same whole, single, self-regulating, complex system. wooden structure begins to float and then drift to the sea in a slow swirl. But Goldsworthy is not attached to his art: “It feels as if it’s been taken off into another plane, another world… it doesn’t feel at all like destruction.”Unlike many others, he is able to accept the natural fate meted out to his works. At the beginning, although he says that it indeed is a bit disappointing stands thathe realizes the great truth that it is only transformation that is taking place and not destruction. Similarly, like what Gaia proposes, he understands that there is no complete extinction but mere transformation of energy from one form to another. The artist also doesn’t think in terms of success or failure. After he has spent many hours constructing an intricate mobile of twigs and thorns, the wind shifts and the piece collapses. Goldsworthy surveys the wreckage and practices equanimity. He seems to know that sometimes

49 50 Ecoaesthetics and Literature

7 Experiencing Nature, Exploring Life: A Study Based on Autobiographies of Environmental Activists

Praseetha K.

Introduction On analysing the struggles on environmental issues, one can perceive that some of the remarkable struggles are led by working class or lower class people, especially by women. Though they are not intended to be environmental activists, all their activities and fights to get their rights to live have also been the fights to save nature because their livelihood is largely dependent on nature and natural resources. They explore their life and even their identity by experiencing nature. In order to protect their rights and to protect nature theirs is a constant struggle against all the exploitations and all types of power domination. Social injustices and environmental issues primarily affect the common people, especially those who are at lower level in social hierarchy. In treating environmental problems in connection with social injustice, the term environmentalism has a new phase that is seen through the experiences of socially and economically backward communities. Here the autobiographies of Mayilamma, Kallen Pokkudan, Dayabhai and C.K.Janu raise their voices against different types of environmental problems and social injustices. The fact is that they all started their struggles due to some types of development and planning that are harmful to nature. Though socially and economically marginalized they raise their voices against the powers of exploitation. Their lives and active engagement with social and economic issues deserve comparative evaluation. A note on the four Autobiographies Taking into consideration the active participation of the authors in environmental activities, four autobiographies are selected for the study. One is Mayilamma: Oru Jeevitham, autobiography of Mayilamma, a dalit woman who led the agitation against a multinational whose industrial activities caused the depletion of underground water resources. Thus, she became a

51 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

figurehead in the struggle against globalization. The second one is Pacchaviral:Kanyamadathil ninnu Keezhalamannilethiya Dayabhaiyude Atmakatha - the autobiography of Dayabhai who abandoned the spiritual life under a Christian congregation and decided to live with and for the dalit community in Madhyapradesh. She belongs to Kerala and she is a Post Graduate in Social Work. At present she serves a dalit community called ‘Gondu Community’ who are 7 severely exploited by Upper Class people and even by the Government. She workes hard to Experiencing Nature, Exploring Life: A Study Based on make them aware of the environment, preservation of nature and the indigenous culture of Gondu Community. The third one is Kandalkadukalkkidayil Ente Jeevitam, autobiography of Autobiographies of Environmental Activists Kallen Pokkudan who is known as Kandal Pokkudan. He individually works to save mangroves that belong to ‘Rhizophoraceae’ (Scientific name) family in northern region of Kerala. By planting Praseetha K. and protecting mangroves he tries to save the soil, water and biodiversity of water bodies in that region. The fourth one is Janu:C.K.Januvinte Jeevitakatha, autobiography of C.K.Janu who struggles for justice and law for the tribals who were once the masters of the forest. The irony Introduction is that while discussions on activism and autobiography continues, she is on agitation at On analysing the struggles on environmental issues, one can perceive that some of the Thiruvananthapuram. Janu and other members of Aadivasi Gothra Mahasabha have been standing remarkable struggles are led by working class or lower class people, especially by women. in front of Secretariat since 9th July 2014. The Government has not yet taken any decision on Though they are not intended to be environmental activists, all their activities and fights to get their demands. their rights to live have also been the fights to save nature because their livelihood is largely Struggle for Life: Struggle for Environment dependent on nature and natural resources. They explore their life and even their identity by experiencing nature. In order to protect their rights and to protect nature theirs is a constant As we discussed above the people at the lower level in social and economical hierarchy are struggle against all the exploitations and all types of power domination. most sensitive to environmental issues. The local people, especially women in the affected area used to react against the environmental problems such as water pollution, air pollution, deforestation Social injustices and environmental issues primarily affect the common people, especially etc. The Modernist discourse and the dual concept always try to explain the involvement of those who are at lower level in social hierarchy. In treating environmental problems in connection women in environmental issues by physically and mentally equalizing women to nature and vice with social injustice, the term environmentalism has a new phase that is seen through the versa. Though it is debatable to feminists, the fact is that, in most of the struggles for environmental experiences of socially and economically backward communities. Here the autobiographies of justice women have active participation, even leadership. Chipko movement, Green Belt Mayilamma, Kallen Pokkudan, Dayabhai and C.K.Janu raise their voices against different types movement, Navdanya Movement, Narmada bachao andolan ‘Save Silent Valley’ struggle - all of environmental problems and social injustices. The fact is that they all started their struggles these environmental movements and activists like Wangaari Mathai, Vandana Siva, Meda Patkar, due to some types of development and planning that are harmful to nature. Though socially and and Sugathakumari are well known to everyone. As we know they all are environmental activists. economically marginalized they raise their voices against the powers of exploitation. Their lives But there are some others, who are thrown to activism while struggling for their basic needs. and active engagement with social and economic issues deserve comparative evaluation. One of the latest struggles took place in ‘Koodamkulam’, Tamil Nadu which is against the A note on the four Autobiographies atomic power station at Koodamkulam. It was led by the native men and women. Women of that region participated in the struggle with their little kids. These women are not the so called Taking into consideration the active participation of the authors in environmental activities, ‘feminists’. Also they are not intended to be any type of activists. They just want to protect their four autobiographies are selected for the study. One is Mayilamma: Oru Jeevitham, air, their water and their life. autobiography of Mayilamma, a dalit woman who led the agitation against a multinational whose industrial activities caused the depletion of underground water resources. Thus, she became a “Many women in the movement evoke deep concerns about the health and future survival

51 52 Ecoaesthetics and Literature of their children and communities when explaining their initial or continued involvement in fighting for environmental justice. The identity and experience of being a ‘mother’ and the outrage at watching local corporations and government officials exhibiting total disregard for the lives of their children, have significantly motivated many women to become politically active” (Chiro, Giovanna Di.1998:119) Here Chiro comments on the activist movement named ‘Mothers of East Los Angles (MELA), a Mexican American community organization that was founded in 1985 to fight for quality of their life. They were compelled to unite because the future quality of life of their children were being threatened. The anxieties of the common mothers about their children and their beloved creates tension and throw them to political activism. Here the women, whose autobiographies are taken up for the study, are the ones who have plunged into environmental struggles to secure their life and to meet their basic needs. But the problems they faced were different. Mayilamma led the movement against the Coca-Cola Multinational Company that was launched in Plachimada, Palakkad district of Kerala. She and her community raised their voices to preserve the underground water resource and to cease the exploitation of the multinational giant. At the same time, C.K.Janu struggled against the land reformation of Government of Kerala in which the natives were treated as trespassers into the government’s revenue lands. Anyway, both C.K Janu and Mayilamma struggled against the power domains and for the rights and welfare of their community. Dayabhai initially works for the empowerment of Dalit people of Madhyapradesh. She makes them aware of the methods of farming which preserve the fertility and diversity of soil. She also tries to prevent the exploitation of resources as well as the Gondu Community. Mayilamma’s autobiography is a clear cut example of the relation between motherhood and environmental activism. Mayilamma directly introduces the issue and intensity of the issue in the first chapter itself. In the first chapter she remembers how she and the people in her village took notice of the change in the nature of water. The food was not cooked well in their water which became hard due to the chemical contents. Later while she describes the strikes and their agitations, she remarks that they were conscious about the functioning of the nursery, the only place their children could spent their time (Pariyadathu, Jyothibai. 2012: 27). Here the anxiety about the life and future of their children made them unite and raise their voices against the exploitation of the company. They realized that the resources should be preserved for their successors. In Janu’s autobiography Forest is placed as the Mother - ‘Mother Forest’ (Bhaskaran. 2002:15). The low wages they were paid did not deprive them of their hunger. The forest is the only place they can trust and seek consolation.

53 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal of their children and communities when explaining their initial or continued involvement in fighting In her autobiography Dayabhai says that she is addressed as ‘Bahanji’(Sister) by the natives. for environmental justice. The identity and experience of being a ‘mother’ and the outrage at She begins her autobiography with a comment that she doesn’t lose her path in the moonlight. watching local corporations and government officials exhibiting total disregard for the lives of But whenever she travels with a torch in darkness she loses her path (Issac, Wilson. 2009:25). their children, have significantly motivated many women to become politically active” (Chiro, This comment shows her relation with nature and her deep faith in nature. She says that if we Giovanna Di.1998:119) take only what we need from nature, then there will be no environmental crisis. “The only thing we should do is that return the soil to nature, then it will be fertile”- this is the advice she gives Here Chiro comments on the activist movement named ‘Mothers of East Los Angles through her farming, her life and her land. (Issac, Wilson. 2009:43) (MELA), a Mexican American community organization that was founded in 1985 to fight for quality of their life. They were compelled to unite because the future quality of life of their In his autobiography Pokkudan says that mangroves are like his own children and mangroves children were being threatened. The anxieties of the common mothers about their children and may feel him like their father (Pokkudan, 2005:112). All these testimonies indicate that these their beloved creates tension and throw them to political activism. people have great intimacy with nature as they have it with their mother, father or their children. Here the women, whose autobiographies are taken up for the study, are the ones who have Against the Dominant and Main Stream Notions plunged into environmental struggles to secure their life and to meet their basic needs. But the Going through these autobiographies, one can undoubtedly say that struggles and activities problems they faced were different. Mayilamma led the movement against the Coca-Cola to protect nature are also the struggles against the dominant factors of the society. Those struggles Multinational Company that was launched in Plachimada, Palakkad district of Kerala. She and insist one to stand against the main stream notions. Sometimes it will be even against the her community raised their voices to preserve the underground water resource and to cease the government itself as in the case of C.K.Janu. In her autobiography Janu points out that when exploitation of the multinational giant. At the same time, C.K.Janu struggled against the land forests became ‘Government Revenue Land’ and ‘Reserved Forests’, the natives are kept reformation of Government of Kerala in which the natives were treated as trespassers into the away as trespassers (Bhaskaran. 2002:38). In Janu’s words they are uprooted from their mother government’s revenue lands. Anyway, both C.K Janu and Mayilamma struggled against the forest. The question that these autobiographies raise is that of existence and survival of every power domains and for the rights and welfare of their community. Dayabhai initially works for tribal community. the empowerment of Dalit people of Madhyapradesh. She makes them aware of the methods of farming which preserve the fertility and diversity of soil. She also tries to prevent the exploitation In 1975, the Kerala Assembly unanimously passed the Kerala Scheduled Tribes (Restriction of resources as well as the Gondu Community. of transfer of land and Restoration of alienated land) legislation for the tribal population in the state. The rules to implement the law were formulated a decade later in 1986. However, use of Mayilamma’s autobiography is a clear cut example of the relation between motherhood tribal land for commercial purposes remains a problem even after the enforcement of that law. and environmental activism. Mayilamma directly introduces the issue and intensity of the issue In 1993, the Kerala High Court, while considering public interest litigation, ordered the state in the first chapter itself. In the first chapter she remembers how she and the people in her government to restore all the alienated tribal land and give them back to the tribals. The government village took notice of the change in the nature of water. The food was not cooked well in their did not implement this order alleging that such a move would lead to conflict and confrontation water which became hard due to the chemical contents. Later while she describes the strikes between the tribes and those who have bought tribal lands, leading to law and order issues in the and their agitations, she remarks that they were conscious about the functioning of the nursery, state. When the state kept on ignoring the court order, tribes started agitations demanding the the only place their children could spent their time (Pariyadathu, Jyothibai. 2012: 27). Here the implementation of the law. In the wake of a court ultimatum, without implementing the law, the anxiety about the life and future of their children made them unite and raise their voices against state Assembly in 1996 amended the 1975 Act in favor of the settlers making all transfer of the exploitation of the company. They realized that the resources should be preserved for their tribe’s land up to 1986 legal. Most of the tribal land in the state had been alienated before 1986. successors. Janu’s and Dayabhai’s autobiographies point out that the tribes are a part of the forest or In Janu’s autobiography Forest is placed as the Mother - ‘Mother Forest’ (Bhaskaran. they have the right to live in their native forests. They argue that meeting the minimum needs of 2002:15). The low wages they were paid did not deprive them of their hunger. The forest is the their day to day life will not cause any harm to nature. As any other living being they are also a only place they can trust and seek consolation.

53 54 Ecoaesthetics and Literature part of the environment. But colonial interference kept them out of the forest. The hidden agenda of the colonial British to own the resources implemented the concept of ‘Protection and Reservation of Natural resources and Forest’. Even now also the voices for their land are oppressed by the rationality of this protection. They have to raise their voices against the domination and exploitation of the power centers of the society. The concept of environment should be revised. The activities of Pokkudan like planting and protecting the mangroves are considered as abnormal. He says that many of the well educated new generation people used to mock him as a mad man. The main stream practices of public and private property is deconstructed by the acts of Pokkudan. He spends most of his life, time and energy in planting mangroves in his own property as well as in the common water bodies like backwaters without expecting any personal gains or profit. The agitation led by Mayilamma which is against the Coco cola Company is a great move against the world wide practices of Globalization. This agitation also questioned the governmental policies to promote trade and development which didn’t share any concern for the working class or lower class people. All these voices of the marginalized for their livelihood is for nature also and all these protests were against the power dominions and main stream interests. These autobiographies are also different from the common structure of autobiographies, because they are not just a biography of an individual. They sound plural in their narration for the narrators explore their life through experiencing their environment. Hence, all the four autobiographies under the discussion are part of history of the communities and regions they belong to. Though they all belong to a certain region or community, they are part of universal value by sharing the common anxieties of mankind who look forward for a healthy and rich environment. Exploration of knowledge by experiencing Nature All these autobiographies question the popular or modern concept of knowledge that is scaled by well structured syllabus, grades secured etc. Janu’s autobiography frequently discusses the connection between their knowledge and the experiences they had from the forest. At times it stands against the mainstream notions of the concept of knowledge. By quoting her friend Ammini, Janu says that compared to indigenous people, the literates and even the teachers who work for educating the tribes don’t know the names of plants and trees, the methods of agriculture, different types of herbs etc. According to them knowledge means the practical knowledge to live, to sustain. That is the most important knowledge. Learning to read or write is secondary to them.

55 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal part of the environment. But colonial interference kept them out of the forest. The hidden Though an illiterate and without sufficient knowledge, Mayillamma identified the problem in agenda of the colonial British to own the resources implemented the concept of ‘Protection and their water resources that they can’t cook properly because of the change in the nature of Reservation of Natural resources and Forest’. Even now also the voices for their land are water. She also recognized that there is some shortage in underground water resources. oppressed by the rationality of this protection. They have to raise their voices against the domination and exploitation of the power centers of the society. The concept of environment should be In Pokkudan’s autobiography, he starts with a confession that he does not know how many revised. alphabets are there in Malayalam and English. But the amazing fact is that his autobiography gives us great insights as well as knowledge about the environment. Three chapters of his The activities of Pokkudan like planting and protecting the mangroves are considered as autobiography are reserved for describing the diversity of nature. In one chapter he describes abnormal. He says that many of the well educated new generation people used to mock him as the different types of fishes which are seen in salt water and in fresh water. In another chapter a mad man. The main stream practices of public and private property is deconstructed by the he describes different kinds of mangroves, their peculiarities and their medicinal quality. He acts of Pokkudan. He spends most of his life, time and energy in planting mangroves in his own concludes his autobiography with the chapter which explains the plantation process of mangroves. property as well as in the common water bodies like backwaters without expecting any personal gains or profit. Dayabhai tries to give the tribe not only modern education, but also the practical knowledge to make them capable to earn and to engage in farming without doing any harm to nature and The agitation led by Mayilamma which is against the Coco cola Company is a great move soil. She secured this knowledge from her childhood experience with nature and her own against the world wide practices of Globalization. This agitation also questioned the governmental experiments in agriculture. One can see that the system and concept of knowledge in these policies to promote trade and development which didn’t share any concern for the working class autobiographies are not anthropocentric, but ecocentric. or lower class people. Despite being a post-graduate, Dayabhai points out the importance of primary education All these voices of the marginalized for their livelihood is for nature also and all these among the tribes. In her autobiography she has noted some incidents of exploitation because of protests were against the power dominions and main stream interests. These autobiographies tribes’ ignorance in calculating their wages, and their ignorance of the laws or government are also different from the common structure of autobiographies, because they are not just a policies. Now for the tribes to survive in a democratic country like India, where the forests have biography of an individual. They sound plural in their narration for the narrators explore their life become revenue lands; where the tribes have become the ‘minority group’ and have to ‘depend’ through experiencing their environment. Hence, all the four autobiographies under the discussion on government policies, they should be literate in the modern sense. They are compelled to enter are part of history of the communities and regions they belong to. Though they all belong to a into a competition with the main stream to survive. certain region or community, they are part of universal value by sharing the common anxieties of mankind who look forward for a healthy and rich environment. Relevance of Women Exploration of knowledge by experiencing Nature “Furthermore, when their men run away from shouldering family responsibilities, it is they who are responsible to run their families with a meager income. It has been observed that Dalit All these autobiographies question the popular or modern concept of knowledge that is women travel long distances spending a lot of their time and energy to collect water and fuel for scaled by well structured syllabus, grades secured etc. Janu’s autobiography frequently discusses their daily use. Anupama Rao believes that caste relations are embedded in the Dalit woman’s the connection between their knowledge and the experiences they had from the forest. At times profoundly unequal access to resources of basic survival such as water and sanitation facilities, it stands against the mainstream notions of the concept of knowledge. By quoting her friend as well as educational institutions, public places, and places of religious worship” (Raj Kumar. Ammini, Janu says that compared to indigenous people, the literates and even the teachers who 2010: 217) work for educating the tribes don’t know the names of plants and trees, the methods of agriculture, different types of herbs etc. According to them knowledge means the practical knowledge to Analyzing various autobiographies which are written by Dalit men and women, Rajkumar live, to sustain. That is the most important knowledge. Learning to read or write is secondary to underlines that though the Dalit men are marginalized their personal narratives are under patriarchal them. construction. At the same time Dalit women try to construct a self by narrating their life, miseries and struggles. While the men who were expected to shoulder the family ran away from their

55 56 Ecoaesthetics and Literature responsibilities, women faced their life courageously and took care of their family and children. This courage and responsibility itself led them to political activism. Here C.K.Janu shares her own and her mother’s miseries while her father left them and married another woman. Mayillamma also shares her struggles of life as a widow in her society. She also describes the life of her fellow women who are neglected by their men. Dayabhai is a woman who showed courage to give witness statement against the exploitation of government servants and others while men were afraid of these officers and their threats. Here the study tries to substantiate how the environmental problems directly affect women and how their autobiographies make strong remarks on their struggles and their life. Unify rather than Identify Both the terms Ecology and Environment should be considered here. The autobiographies in the study try to make the reader to experience the environment rather than to contribute to ecological awareness. While the mainstream concept is anthropocentric; that is considering man to be at the centre and all the natural resources are meant for human beings, for their wellbeing and for their consumption, most of the tribes are eco-centric. Though they carry some fears about nature and they try to tame nature, they cannot place them outside the forest or nature. They do not have an existence outside the forest and their culture. Deep ecology focuses exclusively on identification, interconnectedness and sameness to overcome separation. As in the concept of self-realization, deep ecology treats nature as a dimension of the self. While eco-feminism projects the similarities to equalize nature and women, deep ecology tries to experience the sameness without erasing the differences. Thus, deep ecology is a solution to preserve the nature and environment with all its diversities. Pokkudan states that sometimes he feels that he is a long fruited stilted mangrove (Pokkudan. 2005: 64). Here he recognizes himself as a mangrove and his self is merged with nature. He himself addresses his life as ‘kandal jeevitam’ that is a mangrove life. In a way Deep Ecology is the expansion of self or self-realization as a part of nature as in a spiritual conditioning, rather than equalizing two separate entities. The environmentalism of tribes should be read in the light of the concept of deep ecology. Here in their autobiographies, Mayilamma, Dayabhai, Pokkudan and C.K.Janu, who belong to different communities, place themselves within the environment and nature they live. They are not equalizing them with nature by comparing the motherhood, fertility and exploitation faced. Instead they realize themselves as a part of their environment and their life and culture that exist within the existence of their environment. So we can say that these autobiographies

57 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal responsibilities, women faced their life courageously and took care of their family and children. are their own remarks on their self defense as well as on the environmental resistance led by This courage and responsibility itself led them to political activism. them. They could explore their lives only through experiencing nature. Here C.K.Janu shares her own and her mother’s miseries while her father left them and married another woman. Mayillamma also shares her struggles of life as a widow in her society. Bibliography She also describes the life of her fellow women who are neglected by their men. Dayabhai is a Bhaskaran. Janu: C.K.Januvinte Jeevitakatha, D.C.Books, Kottayam, 2002. woman who showed courage to give witness statement against the exploitation of government servants and others while men were afraid of these officers and their threats. Here the study Chiro, Giovanna Di. ‘Environmental Justice from the Grassroots: Reflections on History, Gender tries to substantiate how the environmental problems directly affect women and how their and Expertise’, The Struggle for Ecological Democracy: Environmental Justice Movements autobiographies make strong remarks on their struggles and their life. in the United States, ed. Daniel Faber, The Guilford Press, London, 1998. Unify rather than Identify Faber, Daniel (ed). The Struggle for Ecological Democracy: Environmental Justice Movements in the United States, The Guilford Press, London, 1998. Both the terms Ecology and Environment should be considered here. The autobiographies in the study try to make the reader to experience the environment rather than to contribute to Issac, Wilson. Pacchaviral: Kanyamadathil ninnu Keezhalamannilethiya Dayabhaiyude ecological awareness. While the mainstream concept is anthropocentric; that is considering Atmakatha, D.C.Books, Kottayam, 2009. man to be at the centre and all the natural resources are meant for human beings, for their Pariyadathu, Jyothibai. Mayilamma: Oru Jeevitam, Mathrubhumi Printing and Publishing Co.Ltd wellbeing and for their consumption, most of the tribes are eco-centric. Though they carry some ,Kozhikode, 2012. fears about nature and they try to tame nature, they cannot place them outside the forest or nature. They do not have an existence outside the forest and their culture. Pokkudan. Kandalkadukalkkidayil Ente Jeevitam, D.C.Books, Kottayam,2005. Deep ecology focuses exclusively on identification, interconnectedness and sameness to Rajkumar, Dalit Personal Narratives: Reading Caste, Nation and Identity, Orient Blackswan overcome separation. As in the concept of self-realization, deep ecology treats nature as a Publishers, Hyderabad, 2010. dimension of the self. While eco-feminism projects the similarities to equalize nature and women, http://www.downtoearth.org.in/content/kerala-tribals-stand-and-protest-land deep ecology tries to experience the sameness without erasing the differences. Thus, deep ecology is a solution to preserve the nature and environment with all its diversities. Pokkudan states that sometimes he feels that he is a long fruited stilted mangrove (Pokkudan. 2005: 64). Here he recognizes himself as a mangrove and his self is merged with nature. He himself addresses his life as ‘kandal jeevitam’ that is a mangrove life. In a way Deep Ecology is the expansion of self or self-realization as a part of nature as in a spiritual conditioning, rather than equalizing two separate entities. The environmentalism of tribes should be read in the light of the concept of deep ecology. Here in their autobiographies, Mayilamma, Dayabhai, Pokkudan and C.K.Janu, who belong to different communities, place themselves within the environment and nature they live. They are not equalizing them with nature by comparing the motherhood, fertility and exploitation faced. Instead they realize themselves as a part of their environment and their life and culture that exist within the existence of their environment. So we can say that these autobiographies

57 58 Ecoaesthetics and Literature

SECTION TWO

MALAYALAM

59 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

SECTION TWO

MALAYALAM

59 60 Ecoaesthetics and Literature

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{]Ir-Xnbpw a\p-jy\pw XΩn-ep≈ _‘w kzm`m-hn-Ihpw KmV-hp-am-Wv. ]t£ a\p-jys‚ kmwkvIm-cnI ]cn-Wm-a-ß-fpsS Hcp L´-Øn¬h®v a\p-jy≥ {]Ir-Xn-bpsS `mK-amWv Xm≥ F∂Xp ad∂v {]Ir-Xn-bpsS A[n-]-\m-sW∂v `mhn-°m≥ XpS-ßn. A∂p-ap-X¬ a\p-jy\pw ]cn-ÿn-Xnbpw XΩn-ep≈ _‘w hf-sc-tbsd k¶o¿Æ-am-bn. {]Ir-Xnsb \nc-¥cw NqjWwsNbvXv ]c-am-h[n kpJ-t`m-K-ßƒ A\p-`-hn°mw F∂v hyh-kmb hnπ-h-Øns‚ Bcw- `-Im-eØv a\p-jy≥ hymtam-ln-s®-¶n-epw, {]Ir-Xn-hn-`-h-ßƒ A\-¥-a-s√∂pw, AXp-sIm≠v Bh-iy-Øn-\pth≠n am{Xw hn`-h-ßƒ D]-tbm-Kn-®mte \ΩpsS A\-¥c Xe-ap-dbv°pw {]Ir- Xn-bn¬ hn`-h-ßƒ Ah-ti-jn°q F∂pw imkv{Xw \sΩ ]Tn-∏n-®p. F¶nepw apX-em- fnØkwkvImcw \sΩ ioen-∏n® t`mKm-k-‡n-bpsS el-cn-bn¬\n∂v \ap°v hntam-Nn-X-cm- Im≥ Ign-bp-∂-tX-bn-√. ]cn-ÿn-Xn-Nn-¥-I-fpsS i‡-amb [mc \ne-\n¬°p-tºmgpw hnI-k\w F∂-t]-cn¬ \mw ho≠pw ho≠pw {]Ir-Xnsb Bg-Øn¬ apdn-th-ev]n-®psIm≠n-cn-°p-∂p. F∂pw \∑-bpsS ]£-ØmWv kmln-Xy-Im-c≥ F∂-Xn-\m¬ CXn-s\-s®m-√n-bp≈ DXvI-WvT-Ifpw Pm{K- X-Ifpw \ne-hn-fn-Ifpw kmln-Xy-Øn¬ \nd-™p-\n¬°p-∂p. ]mcn-ÿn-Xn-Im-h-t_m[w tIc- fob Pohn-X-Ønepw ae-bmf kmln-Xy-Ønepw ]Xn-∏n-®n-´p≈ ap{Z-I-sf-s¥∂v At\z-jn-°p∂ F´p- te-J-\-ßƒ ChnsS kam-l-cn-°-s∏-Sp-I-bm-Wv. BZysØ aq∂p teJ-\-ßƒ ]cn-ÿn-Xn-t_m-[-Øn\v B[m-c-am-tI-≠-Xpw, F∂m¬ Ct∏mƒ \ne-\n¬°p-∂-Xp-amb cm{„o-bm-h-t_m-[-Øns‚ hnhn[ apJ-ßsf A\m-h-cWw sNøp-∂-h- bm-Wv. a\p-jys‚ {]Ir-Xn-t_m-[-Øns‚ BZym-£-c-ßƒ At\z-jn-°p∂ tUm. C. DÆn- IrjvW≥ BtKm-f-]-›m-Ø-e-Øn¬\n∂p XpSßn tIc-f-Øn-te-s°Øn tPm¨kn tP°_v apX¬ Ct∂m-f-ap≈ ]mcn-ÿn-Xn-Im-h-t_m-[-Øns‚ hf¿®sb IrXy-ambn kqNn-∏n-®n-´p-≠v. BtKm-f-h-XvI-c-W-Øns‚ h¿Ø-am-\-Im-eØv ]cn-ÿn-Xn-]-T-\-Øns‚ te_-en¬ C¥y-bpsS {]Ir-Xn-hn-`-h-ßƒ NqjWw sNø-s∏-Sp-∂-sX-ß-s\-sb∂v At±lw Hm¿Ωn-∏n-°p-∂p. \ΩpsS ssPh-ssh-hn-[y-sØ-°p-dn®p ]Tn-®n´v \Ωp-tSXp am{X-amb anI® ]e hnf-hp-Iƒ°pw hntZ-i- °p-Ø-I-Iƒ t]‰‚ v FSp-Øp-I-gn™ Ime-am-Wt√m CXv. ae-_m-dnse "]´phw' F∂ ÿeØp {]kn-≤o-I-cn-°-s∏´ ssPh-ssh-hn-[y-I-e-≠-dns\ DZm-l-cn-®p-sIm≠v Ah-c-h-cpsS {]Ir-Xn-tbbpw ssPh-ssh-hn-[y-tØbpw Ipdn-®p≈ Bﬂ-t_m[w t\S-emWv G‰hpw icn-bmb ]cn-ÿn-Xn-]- T\w F∂v At±lw Nq≠n-°m-Wn-°p-∂p. tUm. {]Im-iv_m-_p-hns‚ teJ\w ]cn-ÿn-Xn-]-T\w "{]Ir-Xn-bn-te°v aS-ßpI' F∂ ap{Zm- hmIyw apg-°p-tºmƒ AsX-ßs\ Ncn-{X-\n-c-t]-£-am-Ip-∂p-sh-∂pw, Nne-t∏mƒ B hmZw Fßs\ \thm-∞m-\-Øn-\p -ap-ºp≈ ^yqU¬aq-ey-ßsf BZ¿i-h¬°-cn-°p-s∂∂pw Nq≠n-

61 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

°m-Wn-°p-∂p. {]Ir-Xn-tbbpw a\p-jy-t\bpw c≠mbn ImWp∂ imkv{Xo-b-sa∂p sX‰n-≤-cn- °-s∏-Sp∂ hnI-k-\-hm-Z-hpw, tIhe {]Ir-Xn-hm-Zhpw c≠p extremes BsW∂v At±lw Hm¿Ωn- ∏n-°p-∂p. Cu AXn-hm-Z-ßsf AXn-Po-hn-°p∂ ka-Xp-en-X-ÿm-\Øp \n∂mWv ]cn-ÿn-Xn-]- T\w XpS-tß-≠Xv F∂v At±lw Nq≠n-°m-Wn-°p-∂p. ]cn-ÿn-Xn-]-T\w : {]iv\-ßfpw kao-]-\-ßfpw ]cn-ÿn-Xn-am-knI "IqSn's‚ ]{Xm-[n-]-cmb apc-fo-[-c≥ \Ωp-tS-Xmb `£-W-io-ehpw ]m¿∏n- S-\n¿Ωm-W-co-Xnbpw hn´v \mw ]m›m-Xy-co-Xn-Iƒ°v ASn-s∏-Sp-tºmƒ D≠m-Ip∂ A]-I-S-sØ- tUm. _n. ]m¿∆Xn °p-dn®v Fgp-Xp-∂p. At±-lhpw ]cn-ÿn-Xn-]-T-\-Øn\v B[m-c-am-tI≠ cm{„o-bm-h-t_m-[sØ Xs∂-bmWv sN∂p-sXm-Sp-∂-Xv. \ΩpsS thcp-Isf Xncn-®-dn-™p-sIm-≠p≈ PohnXw Xs∂- {]Ir-Xnbpw a\p-jy\pw XΩn-ep≈ _‘w kzm`m-hn-Ihpw KmV-hp-am-Wv. ]t£ a\p-jys‚ bmWv ]cn-ÿn-Xn-t_m-[-Øns‚ ASn-Ø-d-bpw ta¬∏pcbpw Bbn h¿Øn-t°-≠-sX∂ km¿∞- kmwkvIm-cnI ]cn-Wm-a-ß-fpsS Hcp L´-Øn¬h®v a\p-jy≥ {]Ir-Xn-bpsS `mK-amWv Xm≥ I-amb Hm¿Ω-s∏-Sp-Ø-emWv Cu teJ-\w. F∂Xp ad∂v {]Ir-Xn-bpsS A[n-]-\m-sW∂v `mhn-°m≥ XpS-ßn. A∂p-ap-X¬ a\p-jy\pw ]cn-ÿn-Xnbpw XΩn-ep≈ _‘w hf-sc-tbsd k¶o¿Æ-am-bn. {]Ir-Xnsb \nc-¥cw Cu ssk≤m-¥n-Im-Sn-Ø-d-bn-ep≈ teJ-\-ßƒ°p-tijw Aw_n-Im-kp-X≥ amßmSv Xms\- NqjWwsNbvXv ]c-am-h[n kpJ-t`m-K-ßƒ A\p-`-hn°mw F∂v hyh-kmb hnπ-h-Øns‚ Bcw- gp-Xnb "F≥a-IsP' F∂ t\mh-ens‚ Fgp-Ø-\p-`-h-Øn-eqsS \S-Øp∂ k©m-c-am-Wv. F≥tUm- `-Im-eØv a\p-jy≥ hymtam-ln-s®-¶n-epw, {]Ir-Xn-hn-`-h-ßƒ A\-¥-a-s√∂pw, AXp-sIm≠v kƒ^m≥ F∂ IoS-\m-in-\n-bn-eqsS hs∂-Ønb Zpc-¥m-\p-`hw Imk¿tKm-Up-Pn-√sb BsI Bh-iy-Øn-\pth≠n am{Xw hn`-h-ßƒ D]-tbm-Kn-®mte \ΩpsS A\-¥c Xe-ap-dbv°pw {]Ir- De-®p-I-f-™n-´p-≠v. Xs‚ a\ ns\ ]oUn-∏n® B A\p-`hw kmln-Xy-Ir-Xn-bmbn amdn-b- Xn-bn¬ hn`-h-ßƒ Ah-ti-jn°q F∂pw imkv{Xw \sΩ ]Tn-∏n-®p. F¶nepw apX-em- t∏mƒ Xm\-\p-`-hn® Bfl-kw-L¿j-sØ-°p-dn®v Aw_n-Im-kp-X≥ amßmSv lrZ-b-kv]¿in- fnØkwkvImcw \sΩ ioen-∏n® t`mKm-k-‡n-bpsS el-cn-bn¬\n∂v \ap°v hntam-Nn-X-cm- bmbn hnh-cn-°p-∂p. Im≥ Ign-bp-∂-tX-bn-√. ]cn-ÿn-Xn-Nn-¥-I-fpsS i‡-amb [mc \ne-\n¬°p-tºmgpw hnI-k\w "F≥a-IsP' F∂ t\mh-en-s\-°p-dn-®p≈ Hcp ]T-\-amWv jo_-bp-tS-Xv. {]Ir-Xn-t°‰ apdnhv F∂-t]-cn¬ \mw ho≠pw ho≠pw {]Ir-Xnsb Bg-Øn¬ apdn-th-ev]n-®psIm≠n-cn-°p-∂p. F∂pw a\p-jy-s‚bpw \ne-hn-fn-bmbn amdn-bXv Cu t\mh¬ \sΩ A\p-`-hn-∏n-°p-∂-sX-{]-Im-c-am-sW∂v \∑-bpsS ]£-ØmWv kmln-Xy-Im-c≥ F∂-Xn-\m¬ CXn-s\-s®m-√n-bp≈ DXvI-WvT-Ifpw Pm{K- Cu ]T\w At\z-jn-°p-∂p. "BXn' F∂ t\mh-en¬ bm{¥n-bp-K-Øn¬ a\pjy\p km¥z-\-ta- X-Ifpw \ne-hn-fn-Ifpw kmln-Xy-Øn¬ \nd-™p-\n¬°p-∂p. ]mcn-ÿn-Xn-Im-h-t_m[w tIc- Ip∂ AWp-[q-fn-{]-k-c-ta¬°mØ `q{]-tZiw ˛ Aßs\ \ΩpsS Ah-km-\sØ A`-bw- fob Pohn-X-Ønepw ae-bmf kmln-Xy-Ønepw ]Xn-∏n-®n-´p≈ ap{Z-I-sf-s¥∂v At\z-jn-°p∂ t]mepw ˛ A{]-Xy-£-am-Ip-∂-Xns‚ Nn{X-am-Wv kmdm-tPm-k^v Bhn-jvI-cn-°p-∂-Xv. F´p- te-J-\-ßƒ ChnsS kam-l-cn-°-s∏-Sp-I-bm-Wv. "BXn'sb°p-dn-®p≈ ]T-\-Øn¬ A\q]v B‚Wn {]IrXn \Ωp-tS-X√; \mw {]Ir-Xn-bp-tS-Xm- BZysØ aq∂p teJ-\-ßƒ ]cn-ÿn-Xn-t_m-[-Øn\v B[m-c-am-tI-≠-Xpw, F∂m¬ Ct∏mƒ sW∂ kXyw kmc-kw-£n-]vX-ambn Nq≠n-°m-Wn-°p-∂p. jn‚ Pn. s\√m-bnbpsS teJ\w \ne-\n¬°p-∂-Xp-amb cm{„o-bm-h-t_m-[-Øns‚ hnhn[ apJ-ßsf A\m-h-cWw sNøp-∂-h- ka-Im-enI Ihn-I-fn¬ {]ap-J-\mb sk_m-Ãys‚ Ihn-X-I-fnse ]mcn-ÿn-Xn-Im-h-t_m-[sØ bm-Wv. a\p-jys‚ {]Ir-Xn-t_m-[-Øns‚ BZym-£-c-ßƒ At\z-jn-°p∂ tUm. C. DÆn- A]-{K-Yn-®n-cn-°p-∂p. \ΩpsS \thm-∞m\ IYm-Ir-Ømb Fkv. sI. s]ms‰-°m-ńs\ "hnj-I- IrjvW≥ BtKm-f-]-›m-Ø-e-Øn¬\n∂p XpSßn tIc-f-Øn-te-s°Øn tPm¨kn tP°_v \yI' F∂ t\mh-ens‚ t]cn¬ {]Ir-Xn-hn-cp-≤-hm-Zn-bmbn hymJym-\n-°p∂ ]Xn-hp-ioew D≠v.- apX¬ Ct∂m-f-ap≈ ]mcn-ÿn-Xn-Im-h-t_m-[-Øns‚ hf¿®sb IrXy-ambn kqNn-∏n-®n-´p-≠v. A-Xn¬\n∂p hn´p-amdn s]ms‰°mńs‚ IY-I-fnse {]Ir-Xn-sb-°p-dn-®p≈ Imev]-\n-I-amb BtKm-f-h-XvI-c-W-Øns‚ h¿Ø-am-\-Im-eØv ]cn-ÿn-Xn-]-T-\-Øns‚ te_-en¬ C¥y-bpsS Krlm-Xp-cX sas√ sas√ IrXy-amb ]mcn-ÿn-Xn-Im-h-t_m-[-ambn ]cn-W-an-®-sX-ß-s\-sb∂v {]Ir-Xn-hn-`-h-ßƒ NqjWw sNø-s∏-Sp-∂-sX-ß-s\-sb∂v At±lw Hm¿Ωn-∏n-°p-∂p. \ΩpsS doa ]Tn-°p-tºmƒ s]ms‰-°m-ńs‚ IY-I-fnse \mw {i≤n-°mØ apJw A\m-h-cWw sNø-s∏- ssPh-ssh-hn-[y-sØ-°p-dn®p ]Tn-®n´v \Ωp-tSXp am{X-amb anI® ]e hnf-hp-Iƒ°pw hntZ-i- Sp-I-bm-Wv. °p-Ø-I-Iƒ t]‰‚ v FSp-Øp-I-gn™ Ime-am-Wt√m CXv. ae-_m-dnse "]´phw' F∂ ÿeØp Cßs\ ]cn-ÿn-Xnbpw a\p-jy\pw XΩn-ep≈ _‘-Øns‚ ssk≤m-¥n-I -h-i-ß-tfbpw, {]kn-≤o-I-cn-°-s∏´ ssPh-ssh-hn-[y-I-e-≠-dns\ DZm-l-cn-®p-sIm≠v Ah-c-h-cpsS {]Ir-Xn-tbbpw Cu _‘w kmln-Xy-Øn¬ {]Xn-^-en-°p-∂-Xns‚ hnhn-[-am-\-ß-tfbpw At\z-jn-°p-∂-h-bmWv ssPh-ssh-hn-[y-tØbpw Ipdn-®p≈ Bfl-t_m[w t\S-emWv G‰hpw icn-bmb ]cn-ÿn-Xn-]- ChnsS kam-l-cn-°-s∏-ń-cn-°p∂ teJ-\-ßƒ. ae-bm-f-Ønse ]mcn-ÿn-XnI kao-]-\-ß-fpsS T\w F∂v At±lw Nq≠n-°m-Wn-°p-∂p. Hcp ]cn-t—-Z-am-Wn-h-sb∂v ]d-bmw. tUm. {]Im-iv_m-_p-hns‚ teJ\w ]cn-ÿn-Xn-]-T\w "{]Ir-Xn-bn-te°v aS-ßpI' F∂ ap{Zm- hmIyw apg-°p-tºmƒ AsX-ßs\ Ncn-{X-\n-c-t]-£-am-Ip-∂p-sh-∂pw, Nne-t∏mƒ B hmZw Fßs\ \thm-∞m-\-Øn-\p -ap-ºp≈ ^yqU¬aq-ey-ßsf BZ¿i-h¬°-cn-°p-s∂∂pw Nq≠n-

61 62 Ecoaesthetics and Literature

8 {]Ir-Xn-t_m-[-Øns‚ BZym-£-c-ßƒ

tUm. C. DÆn-Ir-jvW≥

_n.-kn. F´p apX¬ F.Un. ]Xn-\©v hsc-bp≈ \q‰m-≠p-Iƒ F-gp-Øp-hn-Zy-bn¬ \n∂pw A®-S-nhn-Zy-bn-te°p≈ hnh-c-hn-\n-ab ]cn-Wm-a-Øns‚ -kp-Zo¿L-amb Hcp Ime-am-bn-cp-∂p. ]sØm-ºXmw \q‰m-≠nse _lp-P\ am[y-a-hn-π-hhpw hnt\m-Z-hn-π-hhpw Ccp-]Xmw \q‰m-≠nse hm¿Øm-hn-\n-abhnπ-hhpw CXn-s‚-sbms° XpS¿®-bmbn hnh-c-hn-\n-a-b-cw-KØv Xpd-∂p-In-ńb cmP-]m-X-Ifpw Km¿ln-I-]-cn-k-csØ hnh-c-hn-\n-a-b-Øns‚ b{¥-∏p-c-I-fm-°n. A®-Sn-°m-eØp \n∂pw hn\n-ab irwJ-em-Pm-en-I-bn-te°p ]cn-h¿Ø\w kw`-hn® Iayq-Wn-t°-j-t‚-Xmb hen- sbmcp Ime-{]-hm-l-Øns‚ Ctß A‰-Øp-\n-∂mWv \mw ]cn-ÿnXnt_m[-Øn-s‚bpw {]h¿Ø- \-Øn-s‚bpw \mƒh-gn-Iƒ At\z-jn-°p-∂-Xv. _p≤-s‚bpw Acn-tÃm-ń-en-s‚bpw {]t_m-[-\-ß-fnepw dq-tkm, Nmƒkv Um¿hn≥, sl‚n tUhnUv tXmtdm, Imƒam¿Ivkv, tPmäq¿, cho-{µ-\m-Y-Sm-Kq¿, A∂m-tImw-tÃm-°v, alm-flm- Km‘n XpS-ßn-b-h-cpsS Nn¥-I-fnepw {]IrXn Hcp {][m\ {]ta-b-ambn hcp-∂p-≠v. sImtfm- Wn-b¬ Ime-L´Ønse {]Ir-Xn-]-T-\-ß-fpsS t{]c-I-i-‡n-sb-∂Xv {]Ir-Xn-hn-`-h-ß-fpsS IW- s°-Sp-∏m-bn-cp-∂p. D]-tbm-K-aq-eysØ tcJ-s∏-Sp-Ø-em-bn-cp-∂p. "tlm¿Øqkv ae-_m-dn-°qkv' t]mep≈ {KŸ-ßƒ cNn-°-s∏-Sp-∂Xv ]´m-f-°m-cpsS Btcm-Ky-kw-c-£-W-Øn-\p-X-Ip∂ Xt±- iob kky-ß-sf-°p-dn-®p≈ At\z-j-W-Øns‚ `mK-am-bn-´m-bn-cp-∂p. \mNyd¬ lnÃ-dn-bn¬ \n∂pw Ct°m-f-Pn-bn-te-°p≈ ]cn-h¿Ø\w -˛ {]Ir-Xn-bn¬\n∂pw ]Tn-°p-∂-Xn¬\n∂pw {]Ir- Xn-°p-th-≠n-bp≈ ]T-\-Øn-te-°p≈ Nph-Sp-am‰w ˛ kw`-hn-°p-∂Xv c≠mw temI-bp-≤m-\-¥cw \h-km-t¶-XnI -hn-Zysb°cp-Xn-bp-≠mb Bi-¶-Isf XpS¿∂m-Wv. BƒtUm-entbm t]mƒUpw td®¬ Imgvk-Wp-amWv Cu Imem-¥-c-Øn¬ {]Ir-Xn-]-T-\sØ AXns‚ B¿{Z-X-bn-te°v {]tNm-Zn-∏n® c≠p alm-flm-°ƒ. 1887¬ P\n® entbm-t]mƒUns‚ PohnXw \mbm-´p-Im-c-\n¬ \n∂pw {]Ir-Xn-kvt\-ln-bn-te-°p≈ ]cn-h¿Ø-\-Øns‚ IY-bm-Wv. bqtdm-∏n¬ cmP-Iob \mbm- ´p-Iƒ°mbn kwc-£n®p\n¿Ønb "sKbnw t^md-Ãp-'I-fp-≠m-bn-cp-∂p. \mbm-´p-Im-c-\mb A—- \n¬ \n∂pw arKbm hnt\m-Z-Øns‚ _me-]m-T-ß-f-`y-kn® Ct±lw Xs‚ "sKbnw amt\-Pvsa‚ v' F∂ BZy-]p-kvXIw ka¿∏n-®Xv At±-l-Øn-\p-X-s∂-bm-bn-cp-∂p. sKbnw t^md-Ãp-I-fnse kpÿn-c-amb arK-e-`y-X-sb-°-cp-Xn-bp≈ At\z-j-W-amWv "]cn-c-£Ww' F∂ k¶-ev]-Øn-

63 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

te°pw AXns‚ aq¿Ø-cq-]-amb kwc-£n-X-h-\-ß-fn-te°pw FØn-b-Xv. {]IrXn ]p\xÿm- ]-\w, Bhm-k-hy-h-ÿ-bpsS ]cn-c-£Ww XpSßn ]cn-ÿn-Xn-im-kv{X-Øns‚ ]e ASn-ÿm\ k¶-ev]-ßfpw entbm-t]mƒUns‚ kw`m-h-\-bm-Wv. 1948¬ lrZ-bm-LmXw aqew A¥-cn-®-Xn- \p-ti-j-amWv At±-l-Øns‚ hnJym-X-{K-Ÿ-amb "km≥Uv Iu≠n A¬a-\mIv' HmIvkvt^m¿Uv bqWn-th-gvkn‰n {]kv {]kn-≤o-I-cn-®-Xv. 1962¬ {]kn-≤o-I-cn-°-s∏´ td®¬ Imgvks‚ "\ni-–- 8 h-k¥w' IoS-\m-in\n Zpc-¥-sØ-°p-dn®v temIsØ BZy-ambn t_m[y-s∏-SpØn F∂-Xn-ep- ]cn Poh-Pm-e-ßsf Ah-bpsS ]mc-kv]-cy-Øn-s‚bpw kmtlm-Z-cy-Øn-s‚bpw ASn-ÿm-\-Øn¬ {]Ir-Xn-t_m-[-Øns‚ BZym-£-c-ßƒ Xncn-®-dn-bp-Ibpw B IÆn-bpsS `mK-amb a\p-jys\ Ahs‚ DØ-c-hm-Zn-Xz-ßsf°pdn®v t_m[y- s∏-Sp-Øp-Ibpw sNbvXp. kap-{Z-\o-en-a-bn-e-en™v _meym-\p-`-h-ß-fpsS CuSp-sh-∏p-I-fmbn tUm. C. DÆn-Ir-jvW≥ \ap°p Np‰p-ap≈ IS¬, IS-ens‚ h°v XpS-ßnb {KŸ-ßfpw Ah¿ aptº cNn-®n-cp-∂p. {]Ir-Xn-bpsS kz`m-h-hy-Xn-bm-\-ß-sfbpw Ah-sb-°p-dn-®p≈ a\p-jy-_p-≤n-bpsS ⁄m\-]-cn- an-Xn-I-sfbpw ]‰n-bmWv Ah¿ Nn¥n-®-Xv. B]Øp hnfn-®-dn-bn-°p∂ Im´p-]-£n-sb-t∏mse td®¬ a\p-jy-\n¿anX Zpc-¥-ß-sf-°p-dn®v ap∂-dn-bn∏v \evIn-s°m-≠n-cp-∂p. _n.-kn. F´p apX¬ F.Un. ]Xn-\©v hsc-bp≈ \q‰m-≠p-Iƒ F-gp-Øp-hn-Zy-bn¬ \n∂pw bp≤m-\-¥-c-Im-esØ Bi-¶-Ifpw hnI-k-\-Øns‚ ]cn-an-Xn-I-sf-°p-dn-®p≈ Xncn-®-dn-hp- A®-S-nhn-Zy-bn-te°p≈ hnh-c-hn-\n-ab ]cn-Wm-a-Øns‚ -kp-Zo¿L-amb Hcp Ime-am-bn-cp-∂p. Ifpw Ccp-]Xmw \q‰m-≠ns‚ DØ-cm¿[-Ønse ]mcn-ÿn-XnI Nn¥m-[m-c-Iƒ°v ASn-ÿm-\- ]sØm-ºXmw \q‰m-≠nse _lp-P\ am[y-a-hn-π-hhpw hnt\m-Z-hn-π-hhpw Ccp-]Xmw \q‰m-≠nse [m-c-bm-bn. ]cn-[n-bn-√mØ kmº-Øn-I-h-f¿®bpw A‰-an-√mØ D]-t`m-K-Xr-jvWbpw ]ptcm-K- hm¿Øm-hn-\n-abhnπ-hhpw CXn-s‚-sbms° XpS¿®-bmbn hnh-c-hn-\n-a-b-cw-KØv Xpd-∂p-In-ńb Xn-bpsS Nn”-ß-fmbpw hepXv \√Xv F∂ Nn¥ kaq-l-Øns‚ Nme-I-i-‡n-bmbpw Icp-Xn- cmP-]m-X-Ifpw Km¿ln-I-]-cn-k-csØ hnh-c-hn-\n-a-b-Øns‚ b{¥-∏p-c-I-fm-°n. A®-Sn-°m-eØp bn-cp∂ Ime-Øm-bn-cp-∂p sNdp-Xns‚ kuµ-cy-sØ-°p-dn®v C. F^v. jqam-°¿ ]d-™-Xv. \n∂pw hn\n-ab irwJ-em-Pm-en-I-bn-te°p ]cn-h¿Ø\w kw`-hn® Iayq-Wn-t°-j-t‚-Xmb hen- Bisb F√m A\¿∞-ßƒ°pw Imc-W-am-bn-°≠ _p≤-a-X-Øns‚ Z¿i-\-ß-tfm-Sn-S-s]-Sp∂ sbmcp Ime-{]-hm-l-Øns‚ Ctß A‰-Øp-\n-∂mWv \mw ]cn-ÿnXnt_m[-Øn-s‚bpw {]h¿Ø- Hcp [\-X-Xz-imkv{Xw At±lw apt∂m-´p-h-®p. {]W-b-an-√mØ cXn-t]m-se-bmWv _p≤-Z¿i-\- \-Øn-s‚bpw \mƒh-gn-Iƒ At\z-jn-°p-∂-Xv. Øn-eq-∂mØ kmº-Øn-I-im-kv{X-sa∂v At±lw hniz-kn-®p. hnI-k-\-sØ-°p-dn-®p≈ ka-{K- amb ImgvN-∏mSpw _Z¬ kmt¶-Xn-I-hn-Zy-sb-°p-dn-®p≈ {]Xym-i-bp-amWv jqam-°sd Hcp lcn- _p≤-s‚bpw Acn-tÃm-ń-en-s‚bpw {]t_m-[-\-ß-fnepw dq-tkm, Nmƒkv Um¿hn≥, sl‚n X-km-º-ØnI imkv{X-⁄-\m°n am‰n-b-Xv. 1970Ifn¬ Gsd kzm[o\w sNep-Ønb c≠v tUhnUv tXmtdm, Imƒam¿Ivkv, tPmäq¿, cho-{µ-\m-Y-Sm-Kq¿, A∂m-tImw-tÃm-°v, alm-flm- {]IrXnZ¿i-\-ß-fmWv B¿s\ \okns‚ "AKm[ {]Ir-Xn-t_m-['hpw (Uo]v Ct°m-f-Pn) Km‘n XpS-ßn-b-h-cpsS Nn¥-I-fnepw {]IrXn Hcp {][m\ {]ta-b-ambn hcp-∂p-≠v. sImtfm- sPbnwkv euhvtem-°ns‚ "Kb ]cn-I-ev]\'bpw. `qansb "Kb' F∂ Poh-tX-P- mbn ImWp∂ Wn-b¬ Ime-L´Ønse {]Ir-Xn-]-T-\-ß-fpsS t{]c-I-i-‡n-sb-∂Xv {]Ir-Xn-hn-`-h-ß-fpsS IW- Cu k¶ev]w euhvtem°pw kplr-Ømb hn{ipX t\mh-en-Ãmb hneyw tKmƒUnßpw H∂n®v s°-Sp-∏m-bn-cp-∂p. D]-tbm-K-aq-eysØ tcJ-s∏-Sp-Ø-em-bn-cp-∂p. "tlm¿Øqkv ae-_m-dn-°qkv' hn¬Svkvj-b¿ {Kma-]m-X-bn-eqsS \S-Ønb Zo¿L-bm-{X-Iƒ°n-S-bn¬ Dcp-Øn-cn-™p-h-∂-Xm-Wv. t]mep≈ {KŸ-ßƒ cNn-°-s∏-Sp-∂Xv ]´m-f-°m-cpsS Btcm-Ky-kw-c-£-W-Øn-\p-X-Ip∂ Xt±- FSp-°p-Ibpw sImSp-°p-Ibpw sNøp∂ \ΩpsS AΩ-ssZ-h-sØ-t∏m-se-bmWv {Ko°v antYm- iob kky-ß-sf-°p-dn-®p≈ At\z-j-W-Øns‚ `mK-am-bn-´m-bn-cp-∂p. \mNyd¬ lnÃ-dn-bn¬ fPnbnse Kb. B\-Itfm \oe-Øn-anw-K-etam a\p-jy≥Xs∂tbm X∂n¬\n∂pw XpS-®p-am-‰- \n∂pw Ct°m-f-Pn-bn-te-°p≈ ]cn-h¿Ø\w -˛ {]Ir-Xn-bn¬\n∂pw ]Tn-°p-∂-Xn¬\n∂pw {]Ir- s∏-Sp-tºmgpw \n w-K-bmbn \n¬°p∂p Chƒ. euhvtem-°ns‚ Cu ]cn-I-ev]-\-bmWv "Pntbm Xn-°p-th-≠n-bp≈ ]T-\-Øn-te-°p≈ Nph-Sp-am‰w ˛ kw`-hn-°p-∂Xv c≠mw temI-bp-≤m-\-¥cw ^nkn-tbm-fPn' F∂ \ho\ ]mT-im-Jbv°v XpS°wIpdn-®-Xv. hf¿®-bpsS ]cn-an-Xn-I-sf-°p- \h-km-t¶-XnI -hn-Zysb°cp-Xn-bp-≠mb Bi-¶-Isf XpS¿∂m-Wv. BƒtUm-entbm t]mƒUpw dn®v "¢_v Hm^v tdmw' F∂ Iq´mbvabpw km[m-c-W-°m-cs‚ Zpc-¥-sØ-°p-dn®v Kmc-‰vl¿Unepw td®¬ Imgvk-Wp-amWv Cu Imem-¥-c-Øn¬ {]Ir-Xn-]-T-\sØ AXns‚ B¿{Z-X-bn-te°v Fgp-Xp-∂-Xpw C°m-e-Øp-X-s∂. CØcw {]ÿm-\-ßfpw hy‡n-Ifpw \evInb ap∂-dn-bn-∏p- {]tNm-Zn-∏n® c≠p alm-flm-°ƒ. 1887¬ P\n® entbm-t]mƒUns‚ PohnXw \mbm-´p-Im-c-\n¬ Ifpw _Z¬ hnI-k\ k¶-ev]-ßfpw ]mcn-ÿn-XnI Dƒ°m-gvN-Ifpw F√mw tN¿∂-mWv Ccp- \n∂pw {]Ir-Xn-kvt\-ln-bn-te-°p≈ ]cn-h¿Ø-\-Øns‚ IY-bm-Wv. bqtdm-∏n¬ cmP-Iob \mbm- ]-Xmw-\q-‰m-≠ns‚ Ah-km\Zi-I-ßsf ]mcn-ÿn-XnIt_m[-Øns‚ A¶p-c-Im-e-ambn temI- ´p-Iƒ°mbn kwc-£n®p\n¿Ønb "sKbnw t^md-Ãp-'I-fp-≠m-bn-cp-∂p. \mbm-´p-Im-c-\mb A—- sa-ºmSpw am‰n-Xo¿Ø-Xv. \n¬ \n∂pw arKbm hnt\m-Z-Øns‚ _me-]m-T-ß-f-`y-kn® Ct±lw Xs‚ "sKbnw amt\-Pvsa‚ v' F∂ BZy-]p-kvXIw ka¿∏n-®Xv At±-l-Øn-\p-X-s∂-bm-bn-cp-∂p. sKbnw t^md-Ãp-I-fnse B[p-\nI C¥y-bnse ]mcn-ÿn-XnINn¥-bpsS DZ-bm-¶p-c-ß-sf-°p-dn®v Nn¥n-°p-tºmƒ kpÿn-c-amb arK-e-`y-X-sb-°-cp-Xn-bp≈ At\z-j-W-amWv "]cn-c-£Ww' F∂ k¶-ev]-Øn- FØn-t®-cpI sP.-kn. Ipa-c-∏, cm[m-I-a¬ apJ¿Pn XpS-ßn-b-h-cn-em-Wv. Km‘n-b≥ Z¿i-\-

63 64 Ecoaesthetics and Literature

Øns‚ lcn-Xm-`-amb XpS¿®-bmWv Ipa-c-∏-bp-tS-Xv. kº-Zvhy-h-ÿ, hf¿®, hnI-k\w XpS- ßnb ]Z-ßƒ am{Xw apg-ßn-t°´ Ccp-]-Xmw-\q-‰m-≠ns‚ BZy-]m-Z-Øn¬ XnI®pw Acn-Ip-h- XvIrX hnj-b-am-bn-cp∂p am[y-a-ßƒ°v {]Ir-Xnbpw ]cn-ÿn-Xn-bp-sam-s°. Cu Ime-L-´-Øn- emWv Cu kmº-ØnI imkv{X-hn-Z-Kv≤¿ {]Ir-Xn-sb-°p-dn®v Fgp-Xp-∂-Xv. Ipa-c-∏-bpsS "\ne- \n-ev]n-s\mcp kº-Zvhy-hÿ' F∂ {KŸ-amWv C¥y-bnse lcn-X-k-ºZvhyh-ÿ-sb-°p-dn-®p≈ Nn¥bv°v ASn-ÿm-\-am-bXv F∂p-]-d-bmw. {_nójv k¿°m¿ h\-tZ-i-km-XvI-cWw \S-Øn-b-t∏mƒ AXp-hsc h\sØ Hcp s]mXp- hmb hn`-h-tI-{µ-ambn IcpXn D]-t`m-Kn-®-h¿ AI-‰n-\n¿Ø-s∏-´p. CXp-≠m-°nb Akz-ÿ-X- Iƒ C¥y-bn¬ ]e-bn-S-ß-fnepw Iem-]-ßƒ°v hgn-a-cp-∂n-´p. \nb-a-ew-L\ {]ÿm-\-hp-ambn IÆn-tN¿°-s∏´ Imd-Up-°-bnse h\-k-Xym-{Klw tIc-f-Øn¬ \S∂ s]mXp-C-S-Øn-\p-th- ≠n-bp≈ ka-c-Øn¬ BZy-tØ-Xm-bn-cp-∂p. 1920 Ifn¬Xs∂ adm-Øn-bnse tIkcn amkn-I- bn¬ {_nójv h\-\-b-Øn-s\-Xnsc Db-cp∂ {]Xn-tcm-[-sØ-°p-dn-®p≈ dnt∏m¿´p-Iƒ hcm≥ XpS-ßn-bn-cp-∂p. Sm‰m-bpsS t\Xr-Xz-Øn¬ ÿm]n-°m-\n-cp∂ ap¬jn AW-s°´v ]≤-Xn-s°- Xn-sc-bp≈ P\-Iob {]Xn-tcm-[-hm¿Ø-Iƒ A∂sØ Cw•ojv {]uU ]{X-ßƒ Xa-kvI-cn-®- t∏mƒ tIkcn {]kn-≤o-I-cn-®n-cp-∂p. 1950-I-fn¬ Fgp-Øp-Im-c\pw h\y-Pohn t^mt´m-{Km-^-dp- amb Fw. IrjvW≥ "tÃ‰v am\n'¬ Fgp-Xn-bn-cp∂ {]Ir-Xn-kw-_-‘-amb kNn-{X-Ip-dn-∏p-Iƒ s\{lp-hn-b≥ Ime-L-´-Øn¬ Ah-K-Wn-°-s∏´p InS-∂n-cp∂ ]mcn-ÿn-XnI {]iv\-ß-tfm-Sp≈ \oXn-bp‡ kao-]-\-ß-fn-te°v s]mXp-P-\-{i-≤sb sIm≠p-h-cm≥ Gsd klm-bn-®n-cp-∂p. amXr- `qan BgvN-∏-Xn-∏n¬ Cµp-Nq-U≥ {]kn-≤o-I-cn® "tIc-f-Ønse ]£n-Ifpw' sI. Pn. ASn- tbmSn Fgp-Xnb "tIc-f-Ønse hnj-∏m-ºp-'Ifpw ssPh-ssh-hn-[y-t_m-[-h-XvI-c-Øn¬ Ac \q‰m-≠p-apºv \S∂ BZy-Np-h-Sp-h-bv]mbncp∂p. AW-s°-´p-I-sfbpw h≥\n¿an-Xn-I-sfbpw hnI-k-\-t£-{X-ß-fmbn Icp-Xn-bn-cp∂ s\{lp- hns‚ hnI-k\k¶-ev]-ßfpsS Actß‰-am-bn-cp∂p BZy ]©-h-’-c-]-≤-Xn-I-fn-eqsS kw`- hn-®-Xv. F∂m¬ F¨]-Xp-I-fn¬ `c-W-X-e-Ønepw s]mXp-t_m-[-Ønepw ]pXn-sbmcp {]IrXn]cn-t{]£yw Zriy-am-bn. C¥y-sb-ºmSpw \nc-h[n ]cn-ÿnXn{]ÿm-\-ßƒ cq]-h-XvI- cn-°-s∏-´p. Fgp-]-Xp-I-fn¬ tIc-f-Øn¬ apf-s]m-ń-Øp-S-ßnb ]mT-]p-kvX-tI-X-chpw B¿{Zhpw AKm- [-hp-amb ]cn-ÿn-Xn-t_m-[-Øn\v XpS-°w-Ip-dn-°p-∂Xv tPm¨kn tP°_v F∂ tImtfPv A[ym-]-Is‚ {]t_m-[-\m-fl-I-amb hy‡n-Xz-am-bn-cp-∂p. 1972¬ ]ø-∂q¿ tImtf-Pn¬ tPm¨kn ÿm]n® P¥p-imkv{X ¢∫v tIc-f-Ønse BZy ]cn-ÿn-Xn-kw-L-S-\-bpw, ¢∫ns‚ apJ-]-{X- ambn 1973 apX¬ {]kn-≤o-I-cn®p XpS-ßnb "ssa\' ae-bm-f-Ønse BZy ]cn-ÿn-Xn-{]-kn-≤o- I-c-W-hp-am-bn. 1974 apX¬ tPm¨kn-bpsS D]-tZ-i-\n¿tZ-i-ß-tfmsS tIc-f-sa-ºmSpw \nc-h[n \mNyp¿ ¢∫p-Ifpw \mNyp¿ BIvj≥ {Kq∏p-Ifpw kPo-h-am-bn-cp-∂p. Fw.-sI. {]km-Zns‚ \n¿t±-im-\p-k-c-W-amWv tPm¨kn \mNyp¿ ¢∫p-Iƒ ÿm]n-®-Xv. 1977¬ tPm¨kn tP°- _ns‚ t\Xr-Xz-Øn¬ Ggn-a-e-bn¬ h®v \S-Ønb {]IrXn kl-hm-k-IymºmWv Z£n-tW-¥y- bnse CØ-c-Øn-ep≈ BZy-tØ-Xv. Ggn-ae Iymºn¬ s{]m^. Fw. sI. {]km-Zv, Cµp-Nq-V≥ XpS-ßn-b-h¿ ]s¶-Sp-Øn-cp-∂p. Fw. sI. {]km-Zn¬\n-∂mWv sske‚ vhmen t\cn-Sp∂ òj-

65 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

Øns‚ lcn-Xm-`-amb XpS¿®-bmWv Ipa-c-∏-bp-tS-Xv. kº-Zvhy-h-ÿ, hf¿®, hnI-k\w XpS- Wn-sb-°p-dn®v tPm¨kn Adn-bp-∂-Xv. Hcp kwL-S\ F∂ \ne-bn¬ sske‚ vhmen ]≤-Xn- ßnb ]Z-ßƒ am{Xw apg-ßn-t°´ Ccp-]-Xmw-\q-‰m-≠ns‚ BZy-]m-Z-Øn¬ XnI®pw Acn-Ip-h- s°-Xnsc BZy-ambn {]Xn-tj-[-ap-b¿Øn-bXv 1977¬ apJy-a-{¥n°v ]≤Xn \n¿Øn-h-bv°-W- XvIrX hnj-b-am-bn-cp∂p am[y-a-ßƒ°v {]Ir-Xnbpw ]cn-ÿn-Xn-bp-sam-s°. Cu Ime-L-´-Øn- sa-∂m-h-iy-s∏´v IØ-b-bv°p-Ibpw 1978 sk]vXw-_¿ 4 \v {][m-\-a{¥n samdm¿Pn tZim-bn°v emWv Cu kmº-ØnI imkv{X-hn-Z-Kv≤¿ {]Ir-Xn-sb-°p-dn®v Fgp-Xp-∂-Xv. Ipa-c-∏-bpsS "\ne- \nth-Z\w ka¿∏n-°p-Ibpw 1979 Pqembv 16 apX¬ 23 hsc "tkhv sske‚ vhmen' hmc-ambn \n-ev]n-s\mcp kº-Zvhy-hÿ' F∂ {KŸ-amWv C¥y-bnse lcn-X-k-ºZvhyh-ÿ-sb-°p-dn-®p≈ BN-cn-°p-Ibpw sNbvX P¥p-im-kv{X-¢∫v BWv. 1979 Pqembv 19 \v ]ø-∂q-cn¬ Icn-s¶m-Sn- Nn¥bv°v ASn-ÿm-\-am-bXv F∂p-]-d-bmw. tb¥n \S∂ {]Xn-tj-[-{]-I-S-\-amWv sske‚ vhmen ]≤-Xn-s°-Xnsc \S∂ BZysØ ka-c- {]-Xy-£w. sske‚ vhmen {]t£m`w kr„n® Xcw-K-ssZ¿Ly-Øn-emWv tIc-f-Øns‚ {]Ir- {_nójv k¿°m¿ h\-tZ-i-km-XvI-cWw \S-Øn-b-t∏mƒ AXp-hsc h\sØ Hcp s]mXp- Xn-t_m[w C∂pw kv]µn-°p-∂-Xv. imkv{X-⁄-∑m¿ {]Ir-Xn]£Øpw hn\m-i-I-c-amb hnI- hmb hn`-h-tI-{µ-ambn IcpXn D]-t`m-Kn-®-h¿ AI-‰n-\n¿Ø-s∏-´p. CXp-≠m-°nb Akz-ÿ-X- k-\-]-£Øpw Nph-Sp-d-∏n®v \S-Ønb kwhm-Zhpw Ihn-I-fpsS ]cn-tZ-h-\-ßfpw Fkv. {]`m-I- Iƒ C¥y-bn¬ ]e-bn-S-ß-fnepw Iem-]-ßƒ°v hgn-a-cp-∂n-´p. \nb-a-ew-L\ {]ÿm-\-hp-ambn c≥\m-b¿ "{Kma-imkv{Xw' amkn-I-bn-se-gp-Xnb FUn-t‰m-dn-b-ep-Ifpw ae-bm-f-a-t\m-ca ]{X- IÆn-tN¿°-s∏´ Imd-Up-°-bnse h\-k-Xym-{Klw tIc-f-Øn¬ \S∂ s]mXp-C-S-Øn-\p-th- Øns‚ tImgn-t°mSv FUn-j-\n¬ h∂ hm¿Ø-Ifpw kpK-X-Ip-amcn amXr-`q-an-bn-se-gp-Xnb "h\- ≠n-bp≈ ka-c-Øn¬ BZy-tØ-Xm-bn-cp-∂p. 1920 Ifn¬Xs∂ adm-Øn-bnse tIkcn amkn-I- tcm-Z\w' F∂ teJ-\hpw F≥. hn. IrjvW-hm-cy-dpsS Ipdn-∏p-Ifpw tIcf imkv{X kmln-Xy- bn¬ {_nójv h\-\-b-Øn-s\-Xnsc Db-cp∂ {]Xn-tcm-[-sØ-°p-dn-®p≈ dnt∏m¿´p-Iƒ hcm≥ ]-cn-j-Øns‚ Iymw]-bn-\p-I-fp-sa√mw tN¿∂v sske‚ vhmensb A¥m-cm-jv{S-am\ap≈ Hcp XpS-ßn-bn-cp-∂p. Sm‰m-bpsS t\Xr-Xz-Øn¬ ÿm]n-°m-\n-cp∂ ap¬jn AW-s°´v ]≤-Xn-s°- ]cn-ÿn-Xn-{]iv\w F∂ \ne-bn-te-°p-b¿Øn. Nmen-bm-dn¬ amhq¿ Kzmfn-b¿ dtbm¨kv \S- Xn-sc-bp≈ P\-Iob {]Xn-tcm-[-hm¿Ø-Iƒ A∂sØ Cw•ojv {]uU ]{X-ßƒ Xa-kvI-cn-®- Ønb aen-\o-I-c-W-Øn-s\-Xnsc Xt±-iob P\X \S-Ønb ka-c-amWv tIc-f-Ønse ]mcn-ÿn- t∏mƒ tIkcn {]kn-≤o-I-cn-®n-cp-∂p. 1950-I-fn¬ Fgp-Øp-Im-c\pw h\y-Pohn t^mt´m-{Km-^-dp- XnI ka-c-N-cn-{X-Ønse sFXn-ly-am-\-ap≈ as‰mcp BZy-Ime ka-cw. amb Fw. IrjvW≥ "tÃ‰v am\n'¬ Fgp-Xn-bn-cp∂ {]Ir-Xn-kw-_-‘-amb kNn-{X-Ip-dn-∏p-Iƒ s\{lp-hn-b≥ Ime-L-´-Øn¬ Ah-K-Wn-°-s∏´p InS-∂n-cp∂ ]mcn-ÿn-XnI {]iv\-ß-tfm-Sp≈ ]cn-ÿn-Xn-cw-KØp {]h¿Øn-°p∂ sNdp-kw-L-ß-fpsS DZ-b-Im-e-am-bn-cp∂p F¨]-Xp- \oXn-bp‡ kao-]-\-ß-fn-te°v s]mXp-P-\-{i-≤sb sIm≠p-h-cm≥ Gsd klm-bn-®n-cp-∂p. amXr- Iƒ. Fgp-]-Xp-I-fn¬ hk-¥-Øns‚ CSn-ap-g-°-ambn \n∂ Xo{h CS-Xp-]£w P\-Iob kmwkvIm- `qan BgvN-∏-Xn-∏n¬ Cµp-Nq-U≥ {]kn-≤o-I-cn® "tIc-f-Ønse ]£n-Ifpw' sI. Pn. ASn- cnI thZn-bmbn amdp-Ibpw F¨]-Xp-I-fpsS BZy-Øn¬ thZn ]ncn-®p-hn-S-s∏-´-tXmsS ]cn-ÿnXn tbmSn Fgp-Xnb "tIc-f-Ønse hnj-∏m-ºp-'Ifpw ssPh-ssh-hn-[y-t_m-[-h-XvI-c-Øn¬ Ac ]pXnb I¿a-cw-K-am°n am‰n-b-h-cpsS Zm¿i-\n-I-amb kw`m-h-\-Iƒ Ct°m-f-Pnsb Hcp cm{„o- \q‰m-≠p-apºv \S∂ BZy-Np-h-Sp-h-bv]mbncp∂p. b-{]-iv\-Øns‚ am\-Øn-te-°p-b¿Øp-hm≥ klm-bn°pIbpw sNbvXn-´p-≠v. F¨]-Xp-I-fpsS Ah-km-\-Øn¬ Acn-b-∂q¿, ]ø-∂q¿ XpS-ßnb {]tZ-i-ß-fn¬ \S∂ P\-Iob {]Xn-tcm-[-{]- AW-s°-´p-I-sfbpw h≥\n¿an-Xn-I-sfbpw hnI-k-\-t£-{X-ß-fmbn Icp-Xn-bn-cp∂ s\{lp- h¿Ø-I-cpsS IqSn-t®-c-ep-Iƒ tIc-f-Øns‚ {]IrXn t\cn-Sp∂ {]iv\-ßsf ka-{K-ambn Ah- hns‚ hnI-k\k¶-ev]-ßfpsS Actß‰-am-bn-cp∂p BZy ]©-h-’-c-]-≤-Xn-I-fn-eqsS kw`- X-cn-∏n-°p-∂-Xn¬ hnP-bn-®p. C°m-eØv F. taml≥Ip-am-dns‚ t\Xr-Xz-Øn¬ \S∂ ]›n-a- hn-®-Xv. F∂m¬ F¨]-Xp-I-fn¬ `c-W-X-e-Ønepw s]mXp-t_m-[-Ønepw ]pXn-sbmcp L´ c£m-bm-{X-bmWv tIc-f-Øns‚ ]mcn-ÿn-XnI Ncn-{X-Øn¬ {]m[m-\y-tØmsS AS-bm-f- {]IrXn]cn-t{]£yw Zriy-am-bn. C¥y-sb-ºmSpw \nc-h[n ]cn-ÿnXn{]ÿm-\-ßƒ cq]-h-XvI- s∏-Sp-tØ≠ as‰mcp kw`-hw. cn-°-s∏-´p. 1997¬ ]´phw {Kma-Øn¬ Km´v Icm-dn-s\-Xnscbp≈ km¿∞-I-amb {]Xn-tcm[w F∂ \ne- Fgp-]-Xp-I-fn¬ tIc-f-Øn¬ apf-s]m-ń-Øp-S-ßnb ]mT-]p-kvX-tI-X-chpw B¿{Zhpw AKm- bn¬ Hcp P\-Iob ssPh-ssh-hn[y cPn-Ã¿ {]Im-in-∏n-°-s∏ń´p≠v. taml≥Ip-am¿, t\Xr-Xz- [-hp-amb ]cn-ÿn-Xn-t_m-[-Øn\v XpS-°w-Ip-dn-°p-∂Xv tPm¨kn tP°_v F∂ tImtfPv ]-c-amb ]¶p-h-ln®v {]Im-in-∏n® Cu dntkmgvkv Um‰m-t_kpw ssPh-ssh-hn[yw kw_-‘n® A[ym-]-Is‚ {]t_m-[-\m-fl-I-amb hy‡n-Xz-am-bn-cp-∂p. 1972¬ ]ø-∂q¿ tImtf-Pn¬ tPm¨kn P\-Iob {]Jym-]-\hpw temI-Ønse Xs∂ CØ-c-Øn-ep≈ BZy-tØ-Xm-Wv. temI`-£y- ÿm]n® P¥p-imkv{X ¢∫v tIc-f-Ønse BZy ]cn-ÿn-Xn-kw-L-S-\-bpw, ¢∫ns‚ apJ-]-{X- kw-L-S-\-bpsS Po≥_m¶v ta[m-hn-bm-bn-cp∂ FtXym-]y-°m-c≥ tUm. sadn-tU, hµ-\m-in-h, ambn 1973 apX¬ {]kn-≤o-I-cn®p XpS-ßnb "ssa\' ae-bm-f-Ønse BZy ]cn-ÿn-Xn-{]-kn-≤o- t¢mZv A¬hm-cn-kv, tPm¨kn tP°_v XpS-ßn-b-h¿ Cu kw`-h-Øns‚ `mK-am-bn. BtKmf I-c-W-hp-am-bn. 1974 apX¬ tPm¨kn-bpsS D]-tZ-i-\n¿tZ-i-ß-tfmsS tIc-f-sa-ºmSpw \nc-h[n Icm-dp-I-fpsS kpK-a-amb \S-Øn∏p IcpXn C¥ybpw \nc-h[n \nb-a-ßƒ D≠m-°p-Ibpw CXn- \mNyp¿ ¢∫p-Ifpw \mNyp¿ BIvj≥ {Kq∏p-Ifpw kPo-h-am-bn-cp-∂p. Fw.-sI. {]km-Zns‚ s‚-sbms° `mK-ambn tI{µ-Ønepw kwÿm-\-ß-fnepw ssPh-ssh-hn[y t_m¿Up-I-fp-≠m- \n¿t±-im-\p-k-c-W-amWv tPm¨kn \mNyp¿ ¢∫p-Iƒ ÿm]n-®-Xv. 1977¬ tPm¨kn tP°- °p-Ibpw sNbvXn-´p-≠v. {]mtZ-inI ssPh-ssh-hn[y cPn-Ã¿ \n¿amWw Ch-cpsS {][m\ Npa- _ns‚ t\Xr-Xz-Øn¬ Ggn-a-e-bn¬ h®v \S-Ønb {]IrXn kl-hm-k-IymºmWv Z£n-tW-¥y- X-e-bp-am-Wv. F∂m¬ ]´p-h-sØ-t]mse ssPh-ssh-hn[yw P\-ß-fp-tS-Xm-sW∂v {]Jym-]n-°p∂ bnse CØ-c-Øn-ep≈ BZy-tØ-Xv. Ggn-ae Iymºn¬ s{]m^. Fw. sI. {]km-Zv, Cµp-Nq-V≥ "AS™ cPn-Ã¿' A√; ssPht{kmX- p-Isf hnev]-\-bv°mbn shfn-s∏-Sp-Øp∂ Xpd∂ hnh- XpS-ßn-b-h¿ ]s¶-Sp-Øn-cp-∂p. Fw. sI. {]km-Zn¬\n-∂mWv sske‚ vhmen t\cn-Sp∂ òj- c-ti-J-c-amWv C∂v ssPh-ssh-hn[y ]cn-]m-e-\-k-an-Xn-I-fpsS t\Xr-Xz-Øn¬ ]©m-b-Øp-

65 66 Ecoaesthetics and Literature

IƒtXmdpw D≠m-°n-s°m-≠n-cn-°p-∂-Xv. BtKmf kmº-ØnI Icm-dp-I-fpsS `mK-am-bp-≠m-°n- b _u≤nI kzØ-h-Im-i-Øns‚ ]cn-[n-bn¬ \ΩpsS \h-c-s\√pw ]me-°m-S≥ a´bpw Hm¿°- b-a-bp-sa√mw cPn-Ã¿ sNø-s∏-Sp-Ibpw s]mXp CS-Øn¬\n∂v ]n≥h-en-°-s∏-Sp-Ibpw sNbvXn- cn-°p-I-bm-Wv. ssPh-ssh-hn[y kwc-£-W-Øn-ep-]cn Hcp henb {]tZ-i-Øns‚ `uXn-I-amb \ne-\n-ev]n-\p-Xs∂ B[m-c-amb ]›n-a-L´\nc-Iƒ Kpcp-X-c-amb `ojWn t\cn-Sp-I-bm-Wv. Ah- bpsS kwc-£-W-sØ-°-cpXn D≠mb KmUvKn¬ ip]m¿i-Iƒ°p-ta¬ hnhm-Z-ß-fpsS ]pI-a-d- bv°p-≈n¬ Ah-km-\sØ BWn-bp-a-Sn-®n-cn-°p-∂p. Cu kµ¿`-Øn¬ {]Xn-tcm-[-Øns‚ \√- ]m-T-ambn ]›n-a-L´ c£m-bm-{X-bp-sSbpw ]´phw {]Jym-]-\-Øn-s‚bpw Hm¿a-I-sf-¶n-ep-ap-≠m- Ip-∂Xv \√-Xm-Wv.

67 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

IƒtXmdpw D≠m-°n-s°m-≠n-cn-°p-∂-Xv. BtKmf kmº-ØnI Icm-dp-I-fpsS `mK-am-bp-≠m-°n- b _u≤nI kzØ-h-Im-i-Øns‚ ]cn-[n-bn¬ \ΩpsS \h-c-s\√pw ]me-°m-S≥ a´bpw Hm¿°- b-a-bp-sa√mw cPn-Ã¿ sNø-s∏-Sp-Ibpw s]mXp CS-Øn¬\n∂v ]n≥h-en-°-s∏-Sp-Ibpw sNbvXn- cn-°p-I-bm-Wv. ssPh-ssh-hn[y kwc-£-W-Øn-ep-]cn Hcp henb {]tZ-i-Øns‚ `uXn-I-amb \ne-\n-ev]n-\p-Xs∂ B[m-c-amb ]›n-a-L´\nc-Iƒ Kpcp-X-c-amb `ojWn t\cn-Sp-I-bm-Wv. Ah- bpsS kwc-£-W-sØ-°-cpXn D≠mb KmUvKn¬ ip]m¿i-Iƒ°p-ta¬ hnhm-Z-ß-fpsS ]pI-a-d- 9 bv°p-≈n¬ Ah-km-\sØ BWn-bp-a-Sn-®n-cn-°p-∂p. Cu kµ¿`-Øn¬ {]Xn-tcm-[-Øns‚ \√- ]m-T-ambn ]›n-a-L´ c£m-bm-{X-bp-sSbpw ]´phw {]Jym-]-\-Øn-s‚bpw Hm¿a-I-sf-¶n-ep-ap-≠m- a\p-jy-\n¬ \n∂v {]Ir-Xn-bn-tebv°v Ip-∂Xv \√-Xm-Wv. ]cnÿnXn ]T-\-Øns‚ ⁄m\ hnjbw tUm.-]n.-hn .-{]-Imiv _m_p

Hcp hn⁄m\-imJ F∂ \ne-bn-e-√ -]e hn⁄m\imJ-I-tfbpw \n¿Æ-bn-°p∂ Hc-h- t_m[w F∂ \ne-bn-emWv Hcp-]-t£, ]mcn-ÿn-XnI Nn¥ C∂v {]h¿Øn-°p∂--Xv. Ie, XXz- Nn-¥, cmjv{Sobw, km-º-Øn-I-im-kv{Xw, kmaq-ln-I-kn-≤m-¥-ßƒ F∂nhbnse√mw ]cn-ÿn- Xnsb tI{µ-am-°n-bp≈ At\z-j-W-ßƒ {]_-e-am-Wv. \ΩpsS Btem-N-\-I-tfbpw Bhn-jvIm- c-ß-tfbpw kmc-ambn kv]¿in-®p-sIm-≠n-cn-°p∂ Nn¥m-]-≤Xn F∂ \ne-bn¬ ]cn-ÿnXn]T- \-Øns‚ ⁄m\-hn-j-b-sØ-°p-dn®mWv ChnsS Btem-Nn-°p∂--Xv. at‰-sXmcp ssk≤m-¥nI hyh-lm-c-hp-sa∂t]mse ]cn-ÿnXn]T-\-Øns‚ ssk≤m-¥nI Xehpw `n∂kao-]-\-ß-fm¬ \n¿Æ-bn-°-s∏-Sp--∂Xm-Wv. ssk≤m-¥n-I-ambn Nn¥n-®m¬ CsXmcp \yq\-X-bmbn ImWm-\m-hn-s√-¶nepw \ΩpsS ssZ\wZn\ Pohn-XsØ kmc-ambn kv]¿in-°p∂ Nne kmaq-ln-I-ap-t∂‰ßƒ°v B[m-c-ambn h¿Øn-°p∂ Nn¥m-]-≤Xn F∂ \ne-bn¬ ]cn- ÿn-Xn-]-T-\-Øns‚ ⁄m\-hn-jbw IWn-i-ambn \n¿∆-Nn-°-s∏-tS-≠-Xp-≠v. ]cn-ÿnXnhmZw {][m-\-ambpw {]iv\-h¬°-cn-°m≥ {ian-°p∂-Xv B[p-\n-I-X- (Modernity) bpsS k¶¬∏-ß-sf-bm-Wv. {]_p-≤-X-bpsS bp‡n-I-sf-bmWv AXv tNmZyw sNøp--∂Xv. \ΩpsS hyh-lm-c-ßsf ASn-apSn ]cn-h¿Øn-∏n-®, imkv{Xw, Z¿i-\w, kaq-l-hn-⁄m\w F∂n-h- bnse√mw ]pXnb ]cn-I¬∏-\-Iƒ°v hgn-sh® 16˛mw \q‰m-≠n\v tijw bqtdm-∏ns‚ ssh⁄m- \nI cwK-Øp-≠mb h≥hn-tO-Z-sØ-°p-dn-°m-\mWv {]_p-≤-X (enlightenment) F∂ ]Zw D]- tbm-Kn-®p-h-cp∂--Xv. bp‡n, imkv{Xo-b-X, tcJo-b-amb ]ptcm-K-Xn-bn-ep≈ hnizmkw F∂n-h- sb√mw {]_p-≤-X-bpsS ASn-ÿm-\-k-¶¬∏-ß-fm-Wv. {]_p-≤-X-bpsS Bi-b-kw-ln-X-bmb B[p-\n-I-X-bpsS B[m-c-in-e-I-sf-Øs∂bmWv ]cn-kn-YnXn hmZw tNmZyw sNøp∂-Xv F∂p ImWm-\m-hpw. {]Ir-Xn-bm-Ym¿∞ysØ Xncn-®-dn-bm-\p≈ D]m-[n-bmbn {]_p-≤X Ah-X-cn-∏n-®Xv a\p- jys‚ bp‡n-sb-bm-Wv. Hc¿∞-Øn¬ bp‡nsb kw_-‘n® hymJym-\-amWv bqtdm-]y≥ XXz-Nn-¥sb Gsd-°mew \n¿Æ-bn-®Xv F∂p ]d-bmw. Np‰p-]m-Sp-I-fpsS `mK-ambn Pohn-°p-

67 68 Ecoaesthetics and Literature tºmgpw kzbw hne-bn-cp-Øm-\p≈ tijn a\p-jy-\p-≠v. Cu tijn-sb-bmWv bp‡n (reason) F∂v hyh-l-cn-°p∂--Xv. bmYm¿∞ysØ bp‡n-\n-jvT-sa∂pw A\p-`-h-\n-jvTsa∂pw hyh-tO- Zn®v bp‡nsb kzX-{¥-]-Z-hn-bn-te-°p-b¿Øp-I-bmWv tπt‰m sNbvX-Xv. F∂m¬ bp‡n-sb- °p-dn-®p≈ k¶¬∏w bp‡n-°-Xo-X-amb F√m-‰n-t\bpw \ncm-I-cn-°p∂ bp‡n-hm-Z - (rationalism)Ønte°pw C{µn-bm-\p-`-h-ßsf Adn-hns‚ B[m-c-ambn I¬∏n-°p∂ A-\p-`ham{X- hm-Z-Øn-te°pw (empiricism) hgn ]ncn-bp∂--XmWv ]n∂oSv ImWp∂--Xv. Chn-sS-bmWv CΩm-\p- h¬ Im‚ v F∂ Nn¥-Is‚ {]k-‡n. ]c-kv]cw \ntj-[n-®p-\n¬°p∂sX∂v Icp-X-s∏-Sp∂ C{µn-bm-\p-`-h-tØbpw bp‡n-tbbpw At±lw ]c-kv]cw _‘n-∏n-®p. Im‚ns‚ XXz-Nn-¥- bn¬ C{µn-bm-\p-`-hhpw bp‡nbpw Htc {]hr-Øn-bpsS At\ym\yw th¿s]-Sp-Øm-\m-hmØ LS-I-ß-fm-Wv. F∂m¬ bp‡n°v hnt[-bamhmØ Hcp auenIhkvXpsh (original)k¶¬∏n- ®-Xn-eqsS Im‚ns‚ bp‡n Zp¿_-e-am-bn. Adnt™m Adn-bm-sXtbm hkvXp-\njvT bYm¿∞y- tØbpw Bfl-\n-jvT-bm-Ym¿∞y-tØbpw kw_-‘n® Hcp ZzµzsØ At±lw apt∂m´p-h-®p. Cu hna¿i-\-amWv slK¬ Im‚n-s\-Xnsc Db¿Øn-b-Xv. slK-ens‚ Nn¥-bn¬ Bfl-\n-jvT- Xbpw hkvXp-\n-jvT-Xbpw ˛ Bi-bhpw hkvXphpw ˛ XΩn-ep≈ _‘w sshcp-[ym-fl-I-am-Wv. AXv \nc-¥-c-amb am‰-Øn\pw ]p\-kw-Lm-S-\-Øn\pw hnt[-b-am-Wv. Xs‚ bp‡n k¶¬∏sØ slK¬ Ncn-{X-hp-ambn IÆn-tN¿Øp. slK-ens‚ Cu XmXzn-I-]-cn-I¬∏-\-sb-bmWv am¿Ivkv hnI-kn-∏n-®-Xv. "Xe-Io-gmbn \n∂ slK-en-b≥ Z¿i\sØ' Xm≥ t\sc \ndp-Øn-b-Xmbn At±lw Ah-Im-i-s∏´p. B[p-\n-I-X-bpsS bp‡n-k-¶¬∏w ]cn-ÿnXnhncp-≤-am-sW∂v ]cn-ÿn-Xn-hmZw Bt£- ]n-°p∂-p. bp‡nsb D]m-[n-bm°n {]Ir-Xnsb Iog-S-°m≥ {ian-°p--∂Xn-eqsS Ah≥/Ahƒ kzbw \miØn\v Imc-W-am-hp∂-p. {]Ir-Xn°v taep≈ a\p-jys‚ B[n-]-Xy-amWv ]mcn-ÿn- XnI {]iv\-ßƒ°v aqe-Im-c-Ww. Cu B[n-]-Xy-Øn\v B[m-c-am-bXv B[p-\n-I-X-bnse bp‡n k¶¬∏-am-Wv. imkv{Xo-b-Xsb ap≥\n¿Ønbp≈ B[p-\n-I-X-bpsS Ah-Im-i-hm-Z-ßfpw ]cn- ÿnXnhmZ-Øn¬ {]iv\-h¬°-cn-°-s∏-Sp∂-p. imkv{Xo-b-X-bn-ep≈ Aan-X-am-b {]Xo£ a\p- jy-cm-insb Hcp {]Xn-k-‘n-bn-emWv FØn-°p∂--Xv. ]ptcm-K-Xn-sb-°p-dn-®p≈ ImgvN-∏m-Sm-hs´ D¬∏m-Z-\h¿[-\-hnepw kmº-ØnI hf¿®-bn-ep-aq∂-p∂-XmWv. Ch-sb-√m-amWv B[p-\n-I-Im- eØv h≥ ]mcn-ÿn-Xn-I-{]-iv\-ß-fn-te°v hgn Xpd∂--Xv. Cßs\ t]mIp∂p ]cn-ÿn-Xn-hm-Z- Øns‚ B[p-\n-I-Xm-hn-a¿i-\w. am¿Ivkn-k-tØm-Sp≈ ]cn-ÿnXnhmZn-I-fpsS hna¿i-\hpw AXv B[p-\n-I-X-bpsS bp‡n-I-sf-Ø-s∂-bmWv ]n≥Xp-S-cp∂-Xv F-∂Xm-Wv. am¿Ivkn-ksØ B[p- \n-I-X-bpsS XpS¿®-am-{X-ambn ImtW-≠-Xpt≠m F∂ {]iv\w D-∂bn-°-s∏-tS-≠-Xp-≠v. ChnsS {]k-‡-amb kwKXn AX-√. B[p-\n-I-X-bpsS hnNm-c-am-Xr-I-I-tfbpw ASn-ÿm-\-]cnI¬∏- \-I-tfbpw ]cnÿnXn]-T\w kwi-bn-°p∂p F∂-Xm-Wv. Cu kwKXn ]cn-ÿnXn ]T-\-Øns‚ ⁄m\-hn-j-bsØ kw_-‘n® Hcm-tem-N-\-bn¬ {][m-\-am-Wv. AXm-bXv \ΩpsS XXz-Nn-¥- bp-tSbpw kmaq-lnI ]cn-h¿Ø-\-Øn-t‚bpw Hcp khn-ti-j-k-‘nsb ]cn-ÿnXn]T\w AS- bm-f-s∏-Sp-Øp∂p F∂¿∞w. ka-Im-enI ]cn-ÿnXnhmZ-Øn\v c≠v ASn-ÿm-\-ßƒ Ds≠∂v ImWm-\mhpw. H∂v {]Ir- Xn-tI-{µn-X-hmZw as‰m∂v a\p-jytI{µnXhmZw. KmV-]-cn-ÿn-XnhmZhpw Ct°m-s^-an-\n-khpw

69 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal tºmgpw kzbw hne-bn-cp-Øm-\p≈ tijn a\p-jy-\p-≠v. Cu tijn-sb-bmWv bp‡n (reason) t]mep≈ {]Ir-XntI{µnX-hm-Z-ßƒ {]Ir-Xn-bpsS ka-{K-X-bpsS `mK-ambn a\p-jys\ ImWp- F∂v hyh-l-cn-°p∂--Xv. bmYm¿∞ysØ bp‡n-\n-jvT-sa∂pw A\p-`-h-\n-jvTsa∂pw hyh-tO- Ibpw a\p-jys‚ \io-I-cW kz`m-h-ap≈ CS-s]-S-ep-Iƒ Ah-km-\n-∏n®v ip≤-{]-Ir-Xnsb Zn®v bp‡nsb kzX-{¥-]-Z-hn-bn-te-°p-b¿Øp-I-bmWv tπt‰m sNbvX-Xv. F∂m¬ bp‡n-sb- \ne-\n¿Ø-W-sa∂v hmZn-°p-Ibpw sNøp∂-p. Cu kao-]-\-a-\p-k-cn®v ]cn-ÿnXnhmZ-sa∂-m¬ °p-dn-®p≈ k¶¬∏w bp‡n-°-Xo-X-amb F√m-‰n-t\bpw \ncm-I-cn-°p∂ bp‡n-hm-Z - {]Ir-Xn-bn-te°v aS-ßpI F∂-Xm-Wv. Ipeo-\-\mb Im´m-f≥ F∂ k¶¬∏-Øn-eqsS dqt m (rationalism)Ønte°pw C{µn-bm-\p-`-h-ßsf Adn-hns‚ B[m-c-ambn I¬∏n-°p∂ A-\p-`ham{X- apt∂m´p-sh-®Xv Cu Bi-b-a-s{X. dqt m-bpsS Nn¥-Iƒ B[p-\n-I-X-bp-ambn Fßs\ _‘- hm-Z-Øn-te°pw (empiricism) hgn ]ncn-bp∂--XmWv ]n∂oSv ImWp∂--Xv. Chn-sS-bmWv CΩm-\p- s∏-Sp∂p F∂Xv N¿®-sN-ø-s∏-tS-≠-Xm-Wv. F∂m¬ dqt m-hns‚ Nn¥-Isf B[p-\n-I-X-bpsS h¬ Im‚ v F∂ Nn¥-Is‚ {]k-‡n. ]c-kv]cw \ntj-[n-®p-\n¬°p∂sX∂v Icp-X-s∏-Sp∂ hn]-co-X-]-£Øv Dd-∏n-®p-\n¿Øm-\p≈ DZyaw hna¿in-°-s∏-tS-≠-Xp-≠v. Im¬∏-\n-IX Htc C{µn-bm-\p-`-h-tØbpw bp‡n-tbbpw At±lw ]c-kv]cw _‘n-∏n-®p. Im‚ns‚ XXz-Nn-¥- kabw B[p-\n-I-X-bpsS XpS¿®bpw CS¿®-bp-am-Wv. Npcp-°-Øn¬ B[p-\n-I-X-bpsS hna¿i\w bn¬ C{µn-bm-\p-`-hhpw bp‡nbpw Htc {]hr-Øn-bpsS At\ym\yw th¿s]-Sp-Øm-\m-hmØ \ntj-[-ambn sX‰n-≤-cn-°-s∏-Sp-I-bm-Wn-hn-sS. {]Ir-Xn-bn-te°v aS-ßpI F∂ ktµ-i-Øn¬ LS-I-ß-fm-Wv. F∂m¬ bp‡n°v hnt[-bamhmØ Hcp auenIhkvXpsh (original)k¶¬∏n- \ap°v aS-ßm-\mbn Hcp ip≤-{]-IrXn ]q¿∆-I¬∏\ sNø-s∏-Sp∂-p-≠v. Cu {]Ir-Xn-k-¶¬∏w ®-Xn-eqsS Im‚ns‚ bp‡n Zp¿_-e-am-bn. Adnt™m Adn-bm-sXtbm hkvXp-\njvT bYm¿∞y- Ncn-{X-hn-cp-≤-amWv F∂-XmWv bmYm¿∞yw. a\p-jy-_m-ly-amb {]Ir-Xn-sb-°p-dn-®p≈ ]cn- tØbpw Bfl-\n-jvT-bm-Ym¿∞y-tØbpw kw_-‘n® Hcp ZzµzsØ At±lw apt∂m´p-h-®p. I¬∏\ XmXzn-I-ambn km[y-am-sW-¶nepw Ncn-{X-]-c-ambn {]k-‡-a-√. F¥p-sIm-s≠∂-m¬ Cu hna¿i-\-amWv slK¬ Im‚n-s\-Xnsc Db¿Øn-b-Xv. slK-ens‚ Nn¥-bn¬ Bfl-\n-jvT- AØ-c-samcp {]Ir-Xn°v C\n-ta¬ \ne-\n¬∏n-√. Aßs\ hcp-tºmƒ ]cn-ÿnXnhmZsØ Xbpw hkvXp-\n-jvT-Xbpw ˛ Bi-bhpw hkvXphpw ˛ XΩn-ep≈ _‘w sshcp-[ym-fl-I-am-Wv. {]Ir-Xn-bn-te°v aS-ßm-\p≈ Blzm-\-ambn ImWp--∂h¿ {]kvXp-X-hn-j-bsØ AXns‚ Ncn- AXv \nc-¥-c-amb am‰-Øn\pw ]p\-kw-Lm-S-\-Øn\pw hnt[-b-am-Wv. Xs‚ bp‡n k¶¬∏sØ {X-]-c-X-bn¬ \n∂v AI-‰p-I-bmWv sNøp∂--Xv. DZm-l-c-W-Øn\v Ccp-]-Øn-sbm∂mw \q‰m-≠ns‚ slK¬ Ncn-{X-hp-ambn IÆn-tN¿Øp. slK-ens‚ Cu XmXzn-I-]-cn-I¬∏-\-sb-bmWv am¿Ivkv sh√p-hn-fn-Iƒ F∂ {]_-‘Øn¬ kpK-X-Ip-amcn Fgp-Xn-bXv t\m°pI. ""Rßƒ°v Iq´p-Ip- hnI-kn-∏n-®-Xv. "Xe-Io-gmbn \n∂ slK-en-b≥ Z¿i\sØ' Xm≥ t\sc \ndp-Øn-b-Xmbn Spw-_hpw acp-a-°-Øm-b-hp-ap-≠m-bn-cp-∂p. Xmbvhgn \nanØw Rß-fpsS kv{XoIƒ C∂sØ At±lw Ah-Im-i-s∏´p. G‰hpw hnI-knX cmPy-Ønse G‰hpw B[p-\n-I-bmb kv{Xo A\p-`-hn-°p--∂Xn-t\-°mfpw B[p-\n-I-X-bpsS bp‡n-k-¶¬∏w ]cn-ÿnXnhncp-≤-am-sW∂v ]cn-ÿn-Xn-hmZw Bt£- B\p-Iq-ey-ßfpw Ah-Im-i-ßfpw kuI-cy-ßfpw A∂v A\p-`-hn-®p-t]m∂-p. s]Ïp-™m-bn- ]n-°p∂-p. bp‡nsb D]m-[n-bm°n {]Ir-Xnsb Iog-S-°m≥ {ian-°p--∂Xn-eqsS Ah≥/Ahƒ cp∂p Rßƒ°v k¥Xn. AXn\m¬ s]Æv Xd-hm-Sn\v s]m∂m-bn. Rßƒ°v k¿∏-°m-hp- kzbw \miØn\v Imc-W-am-hp∂-p. {]Ir-Xn°v taep≈ a\p-jys‚ B[n-]-Xy-amWv ]mcn-ÿn- ≠m-bn-cp∂-p. Aº-e-ß-fnepw Xd-hm-Sp-I-fnepw Hcp Imsh∂-m¬ \nXy-l-cnXh\Øns‚ sNdp- XnI {]iv\-ßƒ°v aqe-Im-c-Ww. Cu B[n-]-Xy-Øn\v B[m-c-am-bXv B[p-\n-I-X-bnse bp‡n ]-Xn-∏m-Wv...... -hn-kva-b-I-chpw ]c-kv]-cm-{in-X-hp-amb Cu kwhn-[m\w at\m-l-c-am-bn-cp∂-p. k¶¬∏-am-Wv. imkv{Xo-b-Xsb ap≥\n¿Ønbp≈ B[p-\n-I-X-bpsS Ah-Im-i-hm-Z-ßfpw ]cn- (-kw-kv°m-c-ssI-c-fn, 2006....-Im-en-°‰v k¿∆Iemime {]kn-≤o-I-cW hn`m-Kw) Iq´p-Ip-Spw-_w, ÿnXnhmZ-Øn¬ {]iv\-h¬°-cn-°-s∏-Sp∂-p. imkv{Xo-b-X-bn-ep≈ Aan-X-am-b {]Xo£ a\p- acp-a-°-Øm-bw, k¿∏-°mhv F∂o Nn”-ß-fn-eqsSsb√mw ChnsS hn\y-kn-°-s∏ń-cn-°p-∂Xv jy-cm-insb Hcp {]Xn-k-‘n-bn-emWv FØn-°p∂--Xv. ]ptcm-K-Xn-sb-°p-dn-®p≈ ImgvN-∏m-Sm-hs´ ae-bmfnIƒ IS∂pt]m∂ Hcp Ncn-{X-L´-am-Wv. B ImesØ ca-Wo-b-ambn Nn{Xo-I-cn-°p-I- D¬∏m-Z-\h¿[-\-hnepw kmº-ØnI hf¿®-bn-ep-aq∂-p∂-XmWv. Ch-sb-√m-amWv B[p-\n-I-Im- bm-Wv teJnI sNøp∂--Xv. kph¿W-`q-X-Im-esØ kw_-‘n® Cu Ah-Imiw \ΩpsS Ncn- eØv h≥ ]mcn-ÿn-Xn-I-{]-iv\-ß-fn-te°v hgn Xpd∂--Xv. Cßs\ t]mIp∂p ]cn-ÿn-Xn-hm-Z- {X-tØmSv ]q¿Æ-ambpw \oXn ]pe¿Øp∂-pt≠m F-∂XmWv {]iv\w. acp-a-°-Ømbw kv{XoI- Øns‚ B[p-\n-I-Xm-hn-a¿i-\w. am¿Ivkn-k-tØm-Sp≈ ]cn-ÿnXnhmZn-I-fpsS hna¿i-\hpw AXv tfmSv ImWn® A\oXn Cu BJym-\-Øn¬ IS∂-p-h-cp∂-n-√. k¿∏-°m-hp-Iƒ ]cn- B[p-\n-I-X-bpsS bp‡n-I-sf-Ø-s∂-bmWv ]n≥Xp-S-cp∂-Xv F-∂Xm-Wv. am¿Ivkn-ksØ B[p- ÿnXntbmsSm∏w H´\-h[n A‘-hn-izm-k-ßƒ°pw Ccn-∏n-Sam-bn-cp∂-p F∂ bmYm¿∞yw ChnsS \n-I-X-bpsS XpS¿®-am-{X-ambn ImtW-≠-Xpt≠m F∂ {]iv\w D-∂bn-°-s∏-tS-≠-Xp-≠v. ChnsS hnkvar-X-am-hp-∂p. k¿∏-°m-hp-Iƒ C√m-Xm-b-Xv, Iq´p-Ip-Sw-_-ßƒ XI¿Ø-Xv, acp-a-°-Ømbw {]k-‡-amb kwKXn AX-√. B[p-\n-I-X-bpsS hnNm-c-am-Xr-I-I-tfbpw ASn-ÿm-\-]cnI¬∏- amdn-bXv Ch-sb√mw Bkq-{Xn-X-amb Hcp KqVm-temN-\-bpsS ê-am-bmWv F∂ [z\n-bmWv \-I-tfbpw ]cnÿnXn]-T\w kwi-bn-°p∂p F∂-Xm-Wv. Cu kwKXn ]cn-ÿnXn ]T-\-Øns‚ teJ-\-Øn-ep-≈-Xv. CXv \ΩpsS \thm-∞m-\-Øns‚ alm-kw-cw-`-ßsf X≈n-∏-d-bp--∂Xn\v Xpey- ⁄m\-hn-j-bsØ kw_-‘n® Hcm-tem-N-\-bn¬ {][m-\-am-Wv. AXm-bXv \ΩpsS XXz-Nn-¥- am-Wv. Xo¿®-bmbpw \ΩpsS \thm-∞m-\hpw hna¿i\hnt[-b-am-th-≠-Xp-≠v. F∂m¬ hna¿i- bp-tSbpw kmaq-lnI ]cn-h¿Ø-\-Øn-t‚bpw Hcp khn-ti-j-k-‘nsb ]cn-ÿnXn]T\w AS- \w tIh-e-\n-tj-[-ambn Npcp-ßn-°qS. \n¿`m-Ky-h-im¬ kpK-X-Ip-amcn ]cn-ÿnXnhmZ-sØ bm-f-s∏-Sp-Øp∂p F∂¿∞w. -B[p-\n-I-X-bpsS tIhe \ntj-[-am-bmWv ÿm\-s∏-Sp-Øp--∂Xv. Cu kao-]\w ]cn-ÿnXn]T- \-Øns‚ ⁄m\-hn-j-bsØ kµn-KvZ-am-°p-∂p. ka-Im-enI ]cn-ÿnXnhmZ-Øn\v c≠v ASn-ÿm-\-ßƒ Ds≠∂v ImWm-\mhpw. H∂v {]Ir- Xn-tI-{µn-X-hmZw as‰m∂v a\p-jytI{µnXhmZw. KmV-]-cn-ÿn-XnhmZhpw Ct°m-s^-an-\n-khpw {]Ir-Xn-kw-c-£-W-Øn-\p-th-≠n-bp≈ a\p-jy-tI-{µn-X-hm-Z-ß-fm-Is´ {]Ir-Xnsb hnI-k-

69 70 Ecoaesthetics and Literature

\-Øns‚ LS-I-ambn ImWp∂-p. Cu c≠p hmZ-ßfpw {]Ir-Xn-tbbpw a\p-jy-t\bpw hn]-coX Zzµz-ß-fmbn k¶¬∏n-°p∂ Im¿´o-kn-b≥ Nn¥-sb-bmWv ]n≥]-‰p--∂Xv. Cu hnNm-c-am-Xr-I- bn¬ \n∂p≈ hntO-Z-amWv bYm¿∞-Øn¬ ]cn-ÿn-Xn-]-T-\-Øns‚ ⁄m\-hn-j-bsØ cq]- s∏-Sp-Øp--∂Xv.

71 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

10 {]-IrXn \nXy-Po-hn-X-Øn¬ apc-fo-[-c≥ hn.

Ncn-{Xm-XoXImew apX¬ Xs∂ a\p-jy≥ Ah≥ Pohn-°p∂ Np‰p-]m-Sp-I-fp-ambn CW- ßn-t®¿∂v Ign-bm≥ hf-sc-b-[nIw {i≤n-®n-´p-≠v. CXc Poh-Pm-e-ßƒ°m-Is´ {]IrXymXs∂ AXn-\p≈ Ign-hp-≠v. hnh-chpw (Information) kmt¶-Xn-I-hn-Zybpw (Technology) hnkvt^m-S- \m-fl-I-amb coXn-bn¬ a\p-jy\v Adnhp ]I¿∂p \¬In-b-t∏mƒ Ah\v \jvS-am-bXv {]Ir- Xn-tbm-Sp≈ ASp-∏-am-Wv. Cu AI¬®-bmWv a\p-jy\pw {]Ir-Xnbpw XΩn-ep≈ kwL¿j- Øns‚ (Conflict) {][m\ Imc-Ww. {]Ir-Xn-tbmSv \ap-s°-s¥-¶nepw IS-∏m-Spt≠m, \Ωƒ GsXms° coXn-bn¬ kwc-£n-®mepw A\-¥-amb Ime-K-Xn-bnep≠m-Ip∂ am‰-ßsf XSp- °m≥ \ap-°m-Iptam, a\p-jy-\mtWm {]Ir-Xn-°mtWm IqSp-X¬ {]m[m\yw, AYhm Aßs\ c≠m-bn-°m-tW-≠-XmtWm a\p-jy\pw {]Ir-Xnbpw, F¥mWv a\p-jy\pw {]Ir-Xnbpw XΩn- ep≈ _‘w XpSßn H´-\-h[n tNmZy-ßƒ ]e-t∏m-gmbn Db¿∂p h∂n-´p-≠v. ]eXpw Ct∏mgpw IrXy-ambn DØcw In´m-Ø-Xp-am-Wv. ap‰sØ ap√bv°v aW-an√ F∂ ]g-s©m√v \sΩ kw_-‘n-®n-S-tØmfw Gsd A\z¿∞- am-Wv. {]mtZ-in-I-amb Pohn-X-km-l-N-cy-ßƒ F{X-am{Xw Hcm-fpsS Pohn-X-Øn¬ {][m-\-s∏-´- XmsW∂pw \Ωƒ F{X-am{Xw AXns\ Ah-K-Wn-°p∂p F∂pw IrXy-ambn hc-®p-Im-´p∂p Cu hcn-Iƒ. hnh-c-km-t¶-XnI hnZy-bpsS (Information Technology) hnIm-k-tØm-sS-bmWv temIw BtKm-f-{Kmaw F∂ Hc-h-ÿ-bn-te°v Npcp-ßn-bXv AYhm hnI-kn-®-Xv. Xo¿®-bmbpw ]e taJ-e-I-fnepw CXp-sIm≠v A¤p-Xm-h-l-amb t\´-ß-fp-≠m-bn-´p≠v F∂ hkvXp-Xsb AwKo-I-cn-®p-sIm-≠p-Xs∂ ]d-bmw, AXv Bg-Øn¬ hn\y-kn-®n-´p≈ \ΩpsS kwkvIr-Xn-bpsS thcp-Isf Gsd Zp¿∫e-am-°n-bn-´p-ap-≠v. Itºmfw F∂ òI-cX \ΩpsS k¶¬∏-ß-sf-bmsI hfsc {àm-fl-I-ambn kzm[o-\n-®n-´p-≠v. DZm-l-c-W-Øn\v \ΩpsS `£W-co-Xn-IƒX-s∂. F¥p `£Ww Ign-°-W-sa∂v kzbw Xocp-am-\n-°m-\p≈ Ah-Imiw As√-¶n¬ B kzmX{¥yw t]mepw \ap-°n-∂n√. hyXy-kvX-amb Imem-h-ÿ-bnepw PohnX kml-N-cy-ß-fnepw hkn-°p- ∂-h¿ AXm-Xn-S-ß-fnse {]Ir-Xn-bpsS Ah-ÿ-Iƒ°-\p-Iq-e-amb `£W-˛-Po-hn-X-{I-a-am-bn- cn°pw ]n¥p-S-cp-∂p-≠m-hpI. CXv Ime-ß-fm-bp≈ Pohn-Xw-sIm≠v Ah¿ kzmwio-Icn®-Xm- bn-cn-°pw. bmsXm-cp-hn[ ImgvN-∏m-Sp-I-fp-an-√msX B Pohn-X-˛`£W-co-Xn-Isf AXy¥w hyXy-

71 72 Ecoaesthetics and Literature kvX-amb as‰m-cn-S-tØ°v tIhew IuXp-I-Øn-s‚bpw BVw_-c-Øn-s‚bpw hyXy-kvX-amb cpNn-bp-sSbpw Af-hp-tIm¬ am{Xw h®v IpSn-bn-cpØp-tºmƒ a\p-jy\pw {]Ir-Xn-bp-am-bn \ne- \n-∂n-cp∂ lm¿a-Wn-bmWv \jvS-s∏-Sp-∂-Xv. \nß-fpsS \mhns‚ cpNnbpw \nß-fpsS Btcm- Kyhpw XΩn¬ Hcn-°epw s]mcp-Ø-s∏-´p-t]m-In-s√∂v F√m sshZy-im-kv{X-ß-fn-sebpw hnZ- Kv≤¿ Htc kzc-Øn¬ A`n-{]m-b-s∏-Sp-∂Xv \Ωƒ kuI-cy-]q¿∆w Ah-K-Wn-°m-dmWv ]Xn-hv. hn]-Wn-bpsS ]c-ky-{]-tem-`-\-ß-fn¬s∏-SmsX kzX-{¥-ambn Hcp km[\w hmßm-\p≈ Ahÿ \ap-°n-∂pt≠m? \ap°v G‰hpw Bhiyw Ipd™ hkvXp-hn-\m-bn-cn°pw G‰hpw IqSp-X¬ ]c-ky-ß-fp-≠m-hp-I. AX-∏msS sXm≠-sXm-SmsX hngp-ßm≥ \Ωƒ Xo¿Øpw Xøm- dmWp Xm\pw. aZy-am-bmepw amwk-am-bmepw [m\y-ß-fm-bmepw ]®-°-dn-I-fm-bmepw AXm-Xn-S- ß-fnse {]mtZ-in-I-amb e`y-X-bv°mWv G‰hpw ap≥Xq°w sImSp-t°-≠-Xv. AXm-bn-cn°pw \ap-t°-‰hpw tbmPn-®-Xm-bn-cn-°p-I. `£WØn¬ ]g-ßƒ Dƒs∏-Sp-Ø-W-sa∂v tUmIvS¿ ]d-bp-tºm-tg°pw Imivao-cn-sebpw Hmkvt{S-en-b-bn-tebpw B∏nfpw \yqkn-em‚nse Inhnbpw hmßm≥ ]c-°w-]m-bp-∂-h¿ Adn-bp-∂n√ ASp-°-f-bpsS ]pd-In¬ \n¬°p∂ ]∏m-bbpw t]c- bv°-bpw Rmen-∏q-h\psams°-bmWv \ap°v G‰hpw tbmPn® ]g-ß-sf-∂v. G‰hpw P\-Io-b- am-bn-cp∂ N°-∏-g-Øns‚ kzmZv, Ip∏n-bnepw Sn∂nepw AS®v tISmhmXn-cn-°m-\p≈ AkwJyw cmk-h-kvXp-°-ƒ tN¿Ø a[p-c-]e-lm-c-ß-fpsS {]tem`\-ß-fn¬ \ap°v \jvS-s∏-´p-t]m-bn. \jvS-s∏-Sp∂ Cu {]mtZ-in-I- cpNnt`Zßsf Xncn-®p-]n-Sn-t°-≠-Xp-≠v. cpNn-bp-tSXm-bmepw Pohn- X-co-Xn-I-fp-tSXm-bmepw ]m›m-Xy-cpsS coXn-I-tfm-Sp≈ A‘-amb Hcp hnt[-bXzw \ΩpsS Btcm-Ky-sØ-Ø-s∂-bmWv \ap°v \jvS-s∏-Sp-Øn-b-Xv. ap≥kq-Nn-∏n® t]mse GXmWv \ap°v th≠Xv AYhm tbmPn-®Xv F∂ sXc-s™-Sp∏v kXy-k-‘-ambn sNøm≥ \ap-°m-hp-∂n-√. hn]-Wn°v km[m-c-W-°m-cpsS taep≈ ISn-™m¨ A{X°pw ZrV-am-Wv. [m¿Ωn-I-X-bn-√mØ Hcp hn]Wn \sΩ AS°n hmgp-tºmƒ \Ωƒ Xo¿Øpw \n -lm-b-cm-bn-t∏m-hp-∂p. Xo¿®- bmbpw AXv \ΩpsS Adn-hn-√mbva F∂-Xn-\-∏pdw Hcp hnt[-b-Xz-ambn amdn-bn-cn-°p-∂p. \√- X√ F∂v ]q¿Æt_m[yap≈ km[-\-ßfpw kq∏¿am¿°-‰nse Ae-¶-cn® Ae-am-c-I-fn¬ \n∂v N{Iw ]nSn-∏n® h≠n-I-fn-te°v \Ωƒ FSp-Øn-´p-sIm-t≠-bn-cn-°p-∂p. G‰hpw Ipdhv Intem-ao-‰-dp-Iƒ k©-cn® Hcp DXv]-∂-tØm-Sm-bn-cn°pw \Ωƒ G‰hpw IqSp-X¬ \oXn ]pe¿Øp-∂Xv F∂ Imcyw ad-°-cp-Xv. Bkvt{S-en-b≥ B∏n-fn\p ]Icw A∏p-dsØ A{Z- Ωms‚ ]dºnse t]cbv° Ign-°p-tºmƒ \Ωfpw BtKm-f-Xm-]\w Ipd-bv°p-∂-Xn-\mbn \Ωp- tS-Xmb kw`m-h\ \¬Ip-∂p-≠v! C\n {]mtZ-in-I-am-bm¬Ø-s∂bpw B[p-\n-I-bp-K-Øn¬ AXv A{X-I≠v kpc-£n-X-sat∂m kzoI-cn-°-s∏-tS-≠-sXt∂m ]d-I-h-ø. kzbw-]-cym-]vX-am-hpI IqSn thWw. ]®-°-dn-I-fm-bmepw amwk-am-bmepw kzbw-]-cym-]vX-am-hm≥ Ign-bpI F∂-Xp-sIm≠v \Ωƒ IqSp-X¬ kpc£n-X- cm-hp∂p F∂p-IqSn Dd-∏m-°mw. \ap-°p-th≠ `£Ww \Ωƒ Xs∂ DXv]m-Zn-∏n-°p∂ Hcp Ah-ÿ-bn-te°v FØn-t®-c-Ww. AX{X Dt´m-]y≥ Bi-b-sam-∂p-a-√. sh≠tbm ]btdm X°m-fntbm kz]v\-Øn¬ t]mepw \´p-h-f¿Øp-hm≥ km[y-X-bn-√mØ Bbn-c-°-W-°n\v Bƒ°m-cpsS hoSp-I-fn¬ C∂v ssPh-Ir-jn-co-Xn-bn¬ ]®-°-dn-Iƒ D≠m°p-∂p-≠v. Bcpw Xs∂ hmWn-Pym-Sn-ÿm-\-Øn¬ DXv]m-Zn-∏n-t°≠ Bh-iy-an-√. \nßƒ°v Ign-®n´v _m°nbp- ≈Xv c≠v Ab¬°m¿°pw c≠p kplr-Øp-°ƒ°pw IqSn sImSp-°m≥ am{Xw D≠m-°n- bm¬ aXn.

73 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal kvX-amb as‰m-cn-S-tØ°v tIhew IuXp-I-Øn-s‚bpw BVw_-c-Øn-s‚bpw hyXy-kvX-amb {]Ir-Xn-bp-am-bp≈ kwL¿j-ß-sf-°p-dn®v kqNn-∏n-®p-h-t√m. {]Ir-Xn-sb-∂Xv \ap°pNp‰p- cpNn-bp-sSbpw Af-hp-tIm¬ am{Xw h®v IpSn-bn-cpØp-tºmƒ a\p-jy\pw {]Ir-Xn-bp-am-bn \ne- ap≈ \ΩpsS Pohn-X-Øns‚ Hcp `mKw F∂ kzc-e-b-Øn¬ \n∂p amdn AXns\ XnI®pw Hcp \n-∂n-cp∂ lm¿a-Wn-bmWv \jvS-s∏-Sp-∂-Xv. \nß-fpsS \mhns‚ cpNnbpw \nß-fpsS Btcm- D]t`mKhkvXp F∂ coXn-bn-ep≈ ImgvN∏mSn-te°v \Ωƒ amdn-b-t∏m-gmWv B Xmfw \jvS- Kyhpw XΩn¬ Hcn-°epw s]mcp-Ø-s∏-´p-t]m-In-s√∂v F√m sshZy-im-kv{X-ß-fn-sebpw hnZ- s∏-´-Xv. {]Ir-Xn-kw-c£Wsa-∂Xv \ΩpsS kz¥w DØ-c-hm-Zn-Øz-amtWm F∂- tNmZy-Øn- Kv≤¿ Htc kzc-Øn¬ A`n-{]m-b-s∏-Sp-∂Xv \Ωƒ kuI-cy-]q¿∆w Ah-K-Wn-°m-dmWv ]Xn-hv. \mWv \Ωƒ BZyw DØcw tXtS-≠-Xv. hnZq-c-am-bn-t∏mepw AXn\v A√ Fs∂mcp DØcw e`n-°p-I-bm-sW-¶n¬ \Ωƒ h√mØ A]-I-S-Øn-emWv F∂-Xn\v kwi-b-an-√. F√m-Øn-s\bpw hn]-Wn-bpsS ]c-ky-{]-tem-`-\-ß-fn¬s∏-SmsX kzX-{¥-ambn Hcp km[\w hmßm-\p≈ kmº-Øn-I-amb Hcp Xe-Øn¬ \n¿Øptºmƒ \ap°v am\p-jn-I-amb ]eXpw \jvS-s∏-Spw. Ahÿ \ap-°n-∂pt≠m? \ap°v G‰hpw Bhiyw Ipd™ hkvXp-hn-\m-bn-cn°pw G‰hpw ]Øp sIm√w Ign™v shń hn‰m¬ G‰hpw IqSp-X¬ ss]k In´pw F∂-Xp-sIm≠p am{Xw IqSp-X¬ ]c-ky-ß-fp-≠m-hp-I. AX-∏msS sXm≠-sXm-SmsX hngp-ßm≥ \Ωƒ Xo¿Øpw Xøm- \Ωƒ ho´phf-∏n¬ alm-KWn \´p ]nSn-∏n-°p-Ibm-sW-¶n¬ {]Ir-Xn-tbm-Sp≈ \ΩpsS DØ-c- dmWp Xm\pw. aZy-am-bmepw amwk-am-bmepw [m\y-ß-fm-bmepw ]®-°-dn-I-fm-bmepw AXm-Xn-S- hm-ZnØzw \Ωƒ ]p\:]cn-tim-[n-°-Ww. hb-ense A¬]w s\√p-Xn-∂p∂ Infn-Isf apgp-h≥ ß-fnse {]mtZ-in-I-amb e`y-X-bv°mWv G‰hpw ap≥Xq°w sImSp-t°-≠-Xv. AXm-bn-cn°pw \Ωƒ hnjw h®p sIm√p-tºmƒ, AÆm-d-°-Æ-∑m¿°v HscÆw t]mepw sImSp-°msX ap‰sØ \ap-t°-‰hpw tbmPn-®-Xm-bn-cn-°p-I. `£WØn¬ ]g-ßƒ Dƒs∏-Sp-Ø-W-sa∂v tUmIvS¿ tX∑m-hn¬ he-s]m-Xn™v F√m amº-g-ßfpw kz¥-am-°p-tºmƒ, Hcp ]gw t]mepw XØ- ]d-bp-tºm-tg°pw Imivao-cn-sebpw Hmkvt{S-en-b-bn-tebpw B∏nfpw \yqkn-em‚nse Inhnbpw Ωtbm a‰p ]£ntbm sImØmsX shń-hn¬°m≥ \Ωƒ AXo-h-{i≤ ImWn-°p-tºmƒ Adn- hmßm≥ ]c-°w-]m-bp-∂-h¿ Adn-bp-∂n√ ASp-°-f-bpsS ]pd-In¬ \n¬°p∂ ]∏m-bbpw t]c- bm-sX-sb-¶nepw \Ωƒ {]Ir-Xn-hn-cp-≤-cm-hp-I-X-s∂-bmWv sNøp-∂-Xv. bv°-bpw Rmen-∏q-h\psams°-bmWv \ap°v G‰hpw tbmPn® ]g-ß-sf-∂v. G‰hpw P\-Io-b- am-bn-cp∂ N°-∏-g-Øns‚ kzmZv, Ip∏n-bnepw Sn∂nepw AS®v tISmhmXn-cn-°m-\p≈ AkwJyw \ap°v G‰hpw kzÿ-ambn Xma-kn-°m-\p-≈-bn-S-am-bn-cn-°Ww hoSv. kpc-£n-XØzw F∂ cmk-h-kvXp-°-ƒ tN¿Ø a[p-c-]e-lm-c-ß-fpsS {]tem`\-ß-fn¬ \ap°v \jvS-s∏-´p-t]m-bn. Hscm‰ e£yw am{Xta hoSp ]Wn-bp-tºmƒ \Ωƒ {i≤n-°m-dp-≈q. \ap-s°-{X-am{Xw kpJ-I- \jvS-s∏-Sp∂ Cu {]mtZ-in-I- cpNnt`Zßsf Xncn-®p-]n-Sn-t°-≠-Xp-≠v. cpNn-bp-tSXm-bmepw Pohn- c-am-bn-cn-°Ww AXnse Xmakw F∂-Xn-s\-°p-dn-®p≈ {i≤ G‰hpw Ipd-hv. tIm¨{Io-‰ns‚ X-co-Xn-I-fp-tSXm-bmepw ]m›m-Xy-cpsS coXn-I-tfm-Sp≈ A‘-amb Hcp hnt[-bXzw \ΩpsS B[n-Iy-Øn¬ th\¬®q-Sn¬ Np´p-]-gp-°p-tºmƒ \Ωƒ Fb¿I-≠o-j-W-dns\ B{i-bn-°p- Btcm-Ky-sØ-Ø-s∂-bmWv \ap°v \jvS-s∏-Sp-Øn-b-Xv. ap≥kq-Nn-∏n® t]mse GXmWv \ap°v ∂p. F¶nepw tIm¨{Io-‰n-√m-sX-sbmcp \n¿Ωn-Xn-sb-°p-dn®v \ap-°m-tem-Nn-°mt\ hø. th≠Xv AYhm tbmPn-®Xv F∂ sXc-s™-Sp∏v kXy-k-‘-ambn sNøm≥ \ap-°m-hp-∂n-√. BVw_cØn\p {]m[m\yw sImSp-°p-tºmƒ Akz-ÿX Iq´p-h-cp-∂p. {]Ir-Xn-bp-ambn tN¿∂p- hn]-Wn°v km[m-c-W-°m-cpsS taep≈ ISn-™m¨ A{X°pw ZrV-am-Wv. [m¿Ωn-I-X-bn-√mØ \n¬°mØ Hcp hmk-ÿ-e-Øp≈ PohnXw Xo¿®-bmbpw kpJ-I-c-am-bn-cn-°n-√. Cu kXyw Hcp hn]Wn \sΩ AS°n hmgp-tºmƒ \Ωƒ Xo¿Øpw \n -lm-b-cm-bn-t∏m-hp-∂p. Xo¿®- \ap-°-dnbmw. F¶nepw \Ωƒ ]Wn-bp∂ hoSn¬ Cu Nn¥-Isf \Ωƒ IpSn-bn-cp-Øm-dn-√. bmbpw AXv \ΩpsS Adn-hn-√mbva F∂-Xn-\-∏pdw Hcp hnt[-b-Xz-ambn amdn-bn-cn-°p-∂p. \√- At∏mƒ s]mXp-k-aq-l-Ønse hnI-e`q-cn]£sØ°p-dn-t®m¿ØmWv \mw hymIp-e-cm-hp-I. X√ F∂v ]q¿Æt_m[yap≈ km[-\-ßfpw kq∏¿am¿°-‰nse Ae-¶-cn® Ae-am-c-I-fn¬ a\p-jy-tI-{µo-Ir-X-amb Nn¥-I-fn¬ \n∂v ]pd-Øp-h-∂-√msX Hcp {]Ir-Xn-kvt\-ln-bm- \n∂v N{Iw ]nSn-∏n® h≠n-I-fn-te°v \Ωƒ FSp-Øn-´p-sIm-t≠-bn-cn-°p-∂p. G‰hpw Ipdhv hm≥ \ap-°m-hn-√. hmWn-Pym-Sn-ÿm-\-Øn-ep≈ DXv]m-Z-\-hy-h-ÿ-bn¬ C∏-d-™-sXm∂pw hne- Intem-ao-‰-dp-Iƒ k©-cn® Hcp DXv]-∂-tØm-Sm-bn-cn°pw \Ωƒ G‰hpw IqSp-X¬ \oXn t∏m-hn√ F∂-Xmhpw Nne-cp-sS-sb-¶nepw adp-hm-Zw. {]Ir-Xn-bp-ambn Hcp I®-h-S-Øn-\n-d-ßm≥ ]pe¿Øp-∂Xv F∂ Imcyw ad-°-cp-Xv. Bkvt{S-en-b≥ B∏n-fn\p ]Icw A∏p-dsØ A{Z- am{Xw a\p-jy≥ hf¿t∂m F∂ tNmZy-Øn-\mWv At∏mƒ \Ωƒ DØcw tXtS-≠-Xv. a\p- Ωms‚ ]dºnse t]cbv° Ign-°p-tºmƒ \Ωfpw BtKm-f-Xm-]\w Ipd-bv°p-∂-Xn-\mbn \Ωp- jys\ F°m-eØpw tamln∏n®n-´p≈ em`w F∂ hm°ns‚ {]tem`\-Øn¬ \n∂v Aev]- tS-Xmb kw`m-h\ \¬Ip-∂p-≠v! sa-¶nepw c£-t\-SmsX {]Ir-Xn-sb-°p-dn®v Bi-¶-s∏-ń´v Imcy-an√Xs∂. C\n {]mtZ-in-I-am-bm¬Ø-s∂bpw B[p-\n-I-bp-K-Øn¬ AXv A{X-I≠v kpc-£n-X-sat∂m kzoI-cn-°-s∏-tS-≠-sXt∂m ]d-I-h-ø. kzbw-]-cym-]vX-am-hpI IqSn thWw. ]®-°-dn-I-fm-bmepw amwk-am-bmepw kzbw-]-cym-]vX-am-hm≥ Ign-bpI F∂-Xp-sIm≠v \Ωƒ IqSp-X¬ kpc£n-X- cm-hp∂p F∂p-IqSn Dd-∏m-°mw. \ap-°p-th≠ `£Ww \Ωƒ Xs∂ DXv]m-Zn-∏n-°p∂ Hcp Ah-ÿ-bn-te°v FØn-t®-c-Ww. AX{X Dt´m-]y≥ Bi-b-sam-∂p-a-√. sh≠tbm ]btdm X°m-fntbm kz]v\-Øn¬ t]mepw \´p-h-f¿Øp-hm≥ km[y-X-bn-√mØ Bbn-c-°-W-°n\v Bƒ°m-cpsS hoSp-I-fn¬ C∂v ssPh-Ir-jn-co-Xn-bn¬ ]®-°-dn-Iƒ D≠m°p-∂p-≠v. Bcpw Xs∂ hmWn-Pym-Sn-ÿm-\-Øn¬ DXv]m-Zn-∏n-t°≠ Bh-iy-an-√. \nßƒ°v Ign-®n´v _m°nbp- ≈Xv c≠v Ab¬°m¿°pw c≠p kplr-Øp-°ƒ°pw IqSn sImSp-°m≥ am{Xw D≠m-°n- bm¬ aXn.

73 74 Ecoaesthetics and Literature

11 `mh-\-b√ ˛ Hmtcm hm°nepw tNmc-bp≠v

tUm. Aw_n-Im-kp-X≥ amßmSv

"F≥a-IsP'bpsS Fgp-Ø-\p-`-h-Øn-eqsS t\mh-enÃv

sI´pIY-bmWv ^nIvj≥. \nL≠p Aß-s\-bmWv DØcw ]d-bp-∂-Xv. IYm-Im-c≥ Iev]n- ®p-≠m-°p∂ \pW-°-Y. bYm¿∞-sa∂p hmb-\-°m-cs\ tXm∂n-∏n-°p-∂-Xn-ep≈ hnP-b-amWv Fgp-Øp-Im-cs‚ hn[n Xocp-am-\n-°p-∂-Xv. Ahn-iz-k-\o-b-amb `mh-\-I-sf-t∏mepw hnZ-Kv[-amb BJym-\-]-cn-N-c-W-Øm¬ bmYm¿∞yw-t]mse A\p-`-hn-∏n-°p-hm≥ I¿Ω-Ip-i-e-\mb Hcp IYm- Im-c\v km[n-°pw. kwK-Xn-Iƒ Cß-s\-bm-sW-¶nepw bmYm¿∞yw `mh-\-sb-°mfpw henb sI´p-I-Y-bmbn tXm∂n-bm¬ IYm-Im-c≥ F¥v sNøpw? "F≥a-IsP' F∂ t\mh¬ Fgp-Xm≥ \n¿_-‘n-X-\mb ImeØv Cß-s\-sbmcp {]Xn- k‘nbnemWv Rm\-I-s∏-´-Xv. F≥tUm-kƒ^m≥ Zpc-¥-_m-[nX {Kma-ß-fn¬ ]nd-∂p-ho-W, A\y-{K-l-Po-hn-I-sf-t∏mse hnNn-{X-amb DS-ep-I-fp≈ Ip™p-ßƒ Fs‚ Dd°w sISp-Øn- s°m-≠n-cp-∂p. Ip™p-i-co-chpw henb Xe-bp-ap≈ Ac-Po-hn-X-ßƒ Ip™nte apSn \c-®p- t]m-b, hf¿® apc-Sn-®p-t]m-b, sXm≠ Xpd-∂n-ń-√mØ hmbn-√m-°p-∂n-e-∏≥am¿. Cu hyk- \sØ, ae-bm-f-Øn-se-∂-√, temI-Øn¬ \ne-hn-ep≈ Hcp `mj-bnepw Fgp-Xm-\m-hn-s√∂v F\n- °p-d-∏m-bn-cp-∂p. "Ic-a-tkmhv ktlm-Z-c-∑mcp'sS Bap-J-Øn¬ sZkvsXbvhnkvIn, D≈n- ep≈Xns‚ Ccp-]-Xn-semt∂ Fgp-Xm-\m-bp≈q F∂p ]d-™-Xns‚ ]c-am¿∞w A£-cm¿∞- Øn¬ F\n°v t_m[y-am-bXv B Ime-b-f-hn-em-Wv. t\mh-ens‚ Fgp-Øp-]Wn Ign-™-t∏mƒ a\- nse \ne-hn-fn-bpsS \qdn-sem∂pw ]I¿Øm-\m-bn-√t√m F∂ tJZw Fs∂ h´-an-´p. Hcp Zim-–-Øn-e-[nIw Ime-ambn ka-c-Øns‚ ap≥\n-c-bn¬ D≠m-bn-cp-∂-h-cn¬ Hcmƒ F∂ \ne-bn¬ t\mh-se-gpØv F\n°v Hcp ka-cm-bp[w Xs∂-bm-bn-cp-∂p. "k¶-ev]Im-¥n-'I-f√ F\n°v hgnØp-W-bm-bXv. adn®v {]£p-œ-amb "Pohn-X-°-Sem'bncp-∂p. F≥tUm-kƒ^m≥ Dƒs∏-sS-bp≈ F√m cmk-Io-S-\m-in-\n-Iƒ°p-sa-Xnscbp≈ ka-c-ambncp∂p "F≥a-IsP'. AXp- sIm≠v imkv{Xo-b-amb \nco-£-W-ßfpw hkvXp-X-Ifpw t\mh-en¬ [mcm-f-ambn tN¿t°-≠n- h-∂p. CXv t\mh-ens‚ ]mcm-b-W-kp-JsØ Ań-a-dn-°ptam F∂ `bw F\n-°p-≠m-bn-cp-∂p. Aß-s\-bm-sW-¶n¬t]mepw kmc-an√ F∂v Rm≥ Xocp-am-\n-®p. sIm®p-Ip-ń-Iƒ°v Ibv°p∂ acp∂v tX\n¬ Nmen®p sImSp-°p-∂Xv t]mse-bm-Wv. tX\√ e£yw.

75 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

]t£ {]Xn-I-cWw A¤p-X-I-c-am-bn-cp-∂p. H‰-bn-cp-∏n¬ hmbn-®p-Xo¿Øv \nc-h-[n-bmb Bfp- Iƒ Fs∂ hnfn-®p-Xp-S-ßn. hmb-\m-th-f-bn-ep-≠mb hnNn-{Xhpw Ahn-iz-k-\o-b-hp-amb A\p-`- h-ßƒ ]ecpw Fs∂ tIƒ∏n-®p. AXv Hcp henb ]pkvX-I-Øn\v am{Xw D≠v. ChnsS hnjbw AX-√. A\y-tZ-i-°m-cn¬ an°-hcpw tNmZn-®Xv "F≥a-IsP' k¶-ev]-{Km-a-am-tWm, IYm-]m-{X- ßƒ k¶-ev]-kr-„n-I-fmtWm F∂m-Wv. I¿Wm-SI AXn¿Øn-tbmSv tN¿∂v \ne-sIm-≈p∂ 11 henb Hcp ]©m-b-ØmWv F≥a-IsP F∂pw t\mh-ense IYm-]m-{X-ßfpw anØp-Ifpw H´p- ap-°mepw bYm¿∞-am-sW∂pw ]d-™Xv ]e¿°pw hnizm-k-am-bn-√. Gtgmfw `mj-Iƒ kwkm- `mh-\-b√ ˛ Hmtcm hm°nepw tNmc-bp≠v cn-°p∂ F≥a-I-sP-bnse s]mXp-`mj Xpfp BsW∂p≈Xpw hmb-\-°m¿°v A¤p-X-am-bn. Ht∂m ct≠m IYm-]m-{X-ß-tfbpw Nne anØp-I-tfbpw am{X-amWv Rm≥ k¶-ev]- tUm. Aw_n-Im-kp-X≥ amßmSv Øn¬\n∂pw Iqń-t®¿Ø-Xv. F≥a-I-sP-bpsS (H-cp-]s£ F√m {Kma-ß-fp-sS-bpw) kXy-amb IY-bmWv Rm≥ Fgp-Xn-b-Xv. t\mh-ense tcmK-_m-[n-X-cmb Ip™p-ßƒ ]ecpw acn-®p-t]m- "F≥a-IsP'bpsS Fgp-Ø-\p-`-h-Øn-eqsS t\mh-enÃv bn. ]co-£n-Ømbn thj-an-Sp∂ Pb-Ir-jvW-s\-t∏m-ep-≈-h¿. ^mØn-a-bmbn thj-an´ jmln- \-sb-t∏m-ep-≈-h¿ tcmKm-h-ÿ-tbmSv a√n´v kvIqfn¬ t]mIp-∂p≠v (F≥a-I-sP-bpsS c≠mw ]Xn-∏ns‚ tdmb¬‰n jmln-\-bv°mWv \¬In-b-Xv.) \oe-I-WvT\pw tZh-bm-\nbpw Fs‚ k¶ev] sI´pIY-bmWv ^nIvj≥. \nL≠p Aß-s\-bmWv DØcw ]d-bp-∂-Xv. IYm-Im-c≥ Iev]n- ]m{X-ß-fm-bn-cp-∂p. \oe-I-WvT≥ Xncp-h-\-¥-]p-cØv Adn-b-s∏-Sp∂ a\p-jy-kvt\-ln-bmb kmaq- ®p-≠m-°p∂ \pW-°-Y. bYm¿∞-sa∂p hmb-\-°m-cs\ tXm∂n-∏n-°p-∂-Xn-ep≈ hnP-b-amWv ly-{]-h¿Ø-I≥. _m_vdn akvPnZv s]mfn-°-s∏-´-tXmsS a\p-jy-\n-ep≈ Ah-km-\-hn-izm-khpw Fgp-Øp-Im-cs‚ hn[n Xocp-am-\n-°p-∂-Xv. Ahn-iz-k-\o-b-amb `mh-\-I-sf-t∏mepw hnZ-Kv[-amb XI¿∂v a\p-jy-\p-am-bp≈ F√m _‘hpw Dt]-£n®v F≥a-IsP {Kma-Ønse PSm-[mcn ae- BJym-\-]-cn-N-c-W-Øm¬ bmYm¿∞yw-t]mse A\p-`-hn-∏n-°p-hm≥ I¿Ω-Ip-i-e-\mb Hcp IYm- bnse Imń¬ tZh-bm-\n-s°m∏w Xma-kn-°p-I-bm-Wv. \·X ad-bv°m≥ am{Xw hkv{X-ß-fp- Im-c\v km[n-°pw. kwK-Xn-Iƒ Cß-s\-bm-sW-¶nepw bmYm¿∞yw `mh-\-sb-°mfpw henb ambn Ign™ \oe-I-WvT≥ ]ns∂ IoS-\m-in\n hncp≤ ka-c-\m-b-I-cn¬ Hcm-fmbn amdp-I-bm- sI´p-I-Y-bmbn tXm∂n-bm¬ IYm-Im-c≥ F¥v sNøpw? Wv. "F≥a-IsP' F∂ t\mh¬ Fgp-Xm≥ \n¿_-‘n-X-\mb ImeØv Cß-s\-sbmcp {]Xn- 2000-˛\v apºp≈ F≥a-I-sP-bpsS Ncn{Xw Fgp-Xm-\mWv Rm≥ {ian-®-Xv. 2006 ¬ Fgp-Xn- k‘nbnemWv Rm\-I-s∏-´-Xv. F≥tUm-kƒ^m≥ Zpc-¥-_m-[nX {Kma-ß-fn¬ ]nd-∂p-ho-W, Øp-S-ßnb t\mh¬ 2009 ¬ shfn®w I≠p. AXns‚ Bdmw-]-Xn∏v ]pd-Øn-d-ßnb thf-bn¬ A\y-{K-l-Po-hn-I-sf-t∏mse hnNn-{X-amb DS-ep-I-fp≈ Ip™p-ßƒ Fs‚ Dd°w sISp-Øn- Akm-[m-c-W-amb Hcp A\p-`hw D≠m-bn. F≥tUm-kƒ^m≥ ]oUnX P\-Iob ap∂-Wn-bpsS s°m-≠n-cp-∂p. Ip™p-i-co-chpw henb Xe-bp-ap≈ Ac-Po-hn-X-ßƒ Ip™nte apSn \c-®p- t\Xr-Xz-Øn¬ kao-]-Im-eØv \S∂ ka-c-ß-fn-sem∂v Ncn-{X-hn-P-b-am-bn. 130 Znh-ksØ t]m-b, hf¿® apc-Sn-®p-t]m-b, sXm≠ Xpd-∂n-ń-√mØ hmbn-√m-°p-∂n-e-∏≥am¿. Cu hyk- AΩ-am-cpsS dnte-\n-cmlm-c-Øn-\p-tijw 36 Znhkw \o≠p-\n∂ \ncm-lm-c-k-a-c-Øns‚ HSp- \sØ, ae-bm-f-Øn-se-∂-√, temI-Øn¬ \ne-hn-ep≈ Hcp `mj-bnepw Fgp-Xm-\m-hn-s√∂v F\n- hn¬ ka-c-k-anXn apt∂m-´p-h® {][m-\-s∏´ Bh-iy-ßƒ H´p-an-°Xpw AwKo-I-cn-®p-sIm≠v °p-d-∏m-bn-cp-∂p. "Ic-a-tkmhv ktlm-Z-c-∑mcp'sS Bap-J-Øn¬ sZkvsXbvhnkvIn, D≈n- k¿°m¿ ap´p-a-S-°n. 2013 am¿®v 25 cm{Xn sshIn-bmWv kacw HØp-Xo¿∏m-b-Xv. A∂v Xncp-h- ep≈Xns‚ Ccp-]-Xn-semt∂ Fgp-Xm-\m-bp≈q F∂p ]d-™-Xns‚ ]c-am¿∞w A£-cm¿∞- \-¥-]p-cØv N¿® \S-°p-tºmƒ Imk¿tIm-´v "P\-k-ap{Zw' F∂v t]cn´ {]Xn-tj[ kwKaw Øn¬ F\n°v t_m[y-am-bXv B Ime-b-f-hn-em-Wv. t\mh-ens‚ Fgp-Øp-]Wn Ign-™-t∏mƒ \S-°p-I-bm-bn-cp-∂p. \Kcw I≠n-ń-√mØ A]q¿h-amb Bƒ°q-´-am-bn-cp∂p A∂p-≠m-b-Xv. 22 a\- nse \ne-hn-fn-bpsS \qdn-sem∂pw ]I¿Øm-\m-bn-√t√m F∂ tJZw Fs∂ h´-an-´p. Znhkw \ncm-lmcw InS∂v Ah-i-\m-sb-¶nepw Bip-]-{Xn-bn-em-bn-cp∂ Hcp Zim-–-Øn-e-[nIw Ime-ambn ka-c-Øns‚ ap≥\n-c-bn¬ D≠m-bn-cp-∂-h-cn¬ Hcmƒ F∂ F. taml≥ Ipam-dns\ Rßƒ ka-c-∏-¥-en-te°v sIm≠p-h-∂p. ac-Wwhsc D]-h-kn-°m≥ \ne-bn¬ t\mh-se-gpØv F\n°v Hcp ka-cm-bp[w Xs∂-bm-bn-cp-∂p. "k¶-ev]Im-¥n-'I-f√ \n›-b-Zm¿Vy-tØmsS At±lw Hcp-ßn-b-Xp-sIm-≠mWv k¿°m¿ HØp-Xo¿∏n-s\m-cp-ßn-b-Xv. F\n°v hgnØp-W-bm-bXv. adn®v {]£p-œ-amb "Pohn-X-°-Sem'bncp-∂p. F≥tUm-kƒ^m≥ \ncm-lm-c-a-\p-jvTn-°m≥ At±lw kzbw Xøm-dm-hp-I-bm-bn-cp-∂p. NnIn’ Ign-™-X-t√-bp-≈q, Dƒs∏-sS-bp≈ F√m cmk-Io-S-\m-in-\n-Iƒ°p-sa-Xnscbp≈ ka-c-ambncp∂p "F≥a-IsP'. AXp- amjv InS-∂m¬ {]bm-k-am-Int√ F∂v Rm≥ Bi¶ {]I-Sn-∏n-®p. F∂m¬ amjv ZrV-\n-›bw sIm≠v imkv{Xo-b-amb \nco-£-W-ßfpw hkvXp-X-Ifpw t\mh-en¬ [mcm-f-ambn tN¿t°-≠n- sNbvXn-cn-°p-I-bm-bn-cp-∂p. BZysØ aq∂v kXym-{K-ln-Isf Bip-]-{Xn-bn-te°v am‰n-b-t∏mƒ h-∂p. CXv t\mh-ens‚ ]mcm-b-W-kp-JsØ Ań-a-dn-°ptam F∂ `bw F\n-°p-≠m-bn-cp-∂p. At±lw \ncm-lm-c-k-acw Bcw-`n-®p. BgvN H∂pw c≠pw Ign-™n´pw At±-l-Øn\v {]iv\- Aß-s\-bm-sW-¶n¬t]mepw kmc-an√ F∂v Rm≥ Xocp-am-\n-®p. sIm®p-Ip-ń-Iƒ°v Ibv°p∂ sam-∂p-an√ F∂Xv Rßsf A¤p-X-s∏-Sp-Øn. ]e-X-hW amjv Ft∂mSv ]d™p: kacw acp∂v tX\n¬ Nmen®p sImSp-°p-∂Xv t]mse-bm-Wv. tX\√ e£yw. hnP-bn-°msX Rm≥ ]n∑m-dp-I-bn-√. acn-°m≥ Rm≥ Xøm-dm-Wv.

75 76 Ecoaesthetics and Literature

77 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

HSp-hn-esØ Znh-kw, "P\-k-ap-{Z-'Øn-\p-≠m-b P\-]-¶m-fn-Øhpw am[y-a-ß-fpsS henb ]n¥p- Wbpw taml≥Ip-am-dns‚ Bfl-hn-izm-ksØ h¿≤n-∏n-®-Xmbn F\n°v tXm∂n. icocw Xf¿∂n- cp-s∂-¶nepw At±-l-Øns‚ a\ pw i–hpw H´pw Xf¿∂n-cp-∂n-√. ssa°v tNmZn-®p-hmßn At±lw P\-°q-´-tØmSv Hcp aWn-°q-tdmfw Bth-i-`-cn-X-\mbn kwkm-cn-®p. {]kwKw Ah- km-\n-∏n-®-tijw At±lw Fs∂ hnfn®v Acn-In¬, Iń-en¬ Ccn-°m≥ Bh-iy-s∏-´-tijw ]Xps° ]d™p: ""CsXs‚ Ah-km-\sØ ka-c-am-Wv.'' 12 \Sp-°-tØmsS Rm≥ At±-lsØ angn-®p-t\m-°n. amjv XpS¿∂p: F≥a-IsP ˛ aÆn-s‚bpw a\p-jy-s‚bpw \ne-hnfn ""Cu ka-c-tØmsS a\p-jy-\p-th≠nbp≈ F√m {]h¿Ø-\-ßfpw Rm≥ Ah-km-\n-∏n-°p- I-bm-Wv. ]›n-a-L-´-Øns‚ Xmgvhm-c-Øn-ep≈ GsX-¶nepw ImSn-\-cp-In¬ t]mbn C\n-bp≈ jo_ kn.-hn. Imew Ign-bm-\mWv Rm≥ B{K-ln-°p-∂-Xv.'' Hcp I\Ø hnd-b¬ Fs‚ c‡-°p-g-ep-I-fn-eqsS hym]n-°p-∂Xv Rm\-dn™p. Hc-£cw an≠m-\m-bn√ F\n-°v. Ggv sIm√w-ap≥]v Rm≥ Fgp-Xm≥ Bcw-`n® t\mh-ense \oe-I-WvTs‚ aÆn-s‚bpw a\p-jy-s‚bpw \ne-\nev]v AS-bm-f-s∏-Sp-Øp∂ {]Ir-Xn-]m-T-ßsf Xncn-®-dn- Pohn-X-amWv amjv Ft∂mSv ]d-bp-∂Xv! j¿´v [cn-°msX H‰-ap-≠n¬ am{Xw PohnXw apt∂m´v bp-∂-XmWv bYm¿∞ ]cn-ÿnXnkvt\lw. `qan a\p-jy-\p-th≠n am{X-ap-≈-Xm-sW∂v Icp- sIm≠p-t]m-Ip∂ amjv ImgvN-bnepw \oeI-WvTs\ Hm¿Ωn-∏n-®p. kaq-l-Ønse hnjw Bl- Xp∂ AXn-k-¶o¿Æhpw AXn-hn-Nn-{X-hp-amb ]mcn-ÿn-Xn-I-t_m[-amWv F√m Zpc-¥-ßƒ°pw cn-°m≥ Xøm-dmb amjv {]Ir-X-Ønepw \oe-I-WvTs\t∏mse tXm∂n-∏n-®p. k¶-ev]-Øn¬ Imc-Ww. Hmtcm IrXnbpw AXv cq]-s∏´v hcp∂ kmaq-ln-I-bm-Ym¿∞y-ßfpsS IrXy-amb Rm≥ Xo¿Ø \oe-I-WvTs\ ap∂n¬ ImWp-∂-Xp-t]mse Rm≥ hnkva-b-`-cn-X-\m-bn. AS-bm-f-s∏-Sp-Ø-em-Wv. CØ-c-Øn¬ P\Iob {]Xn-tcm-[-k-a-c-Øns‚ Xo{h-amb {]Xn-I-c- W-ßƒ kmln-Xy-Øn-tebv°v sIm≠p-h-∂-t∏m-gmWv "F≥a-IsP' F∂ t\mh¬ P\n-°p-∂- At∂cw F\n°v H∂pw ]d-bm-\m-bn-√. ]s£ F\n°v t_m[y-ap≠v. h\-hm-k-Øn\v Xv. ]mcn-ÿn-Xn-Im[n-\n-th-i-Øns‚ Xo£vW-amb \ne-hnfn G‰hpw kr„n-]-c-ambn AS-bm-f- t]mbmepw amjv Xncn-®p-h-cpw. \oeI-WvT-s\-t∏mse hnj-lm-cn-bm-hm≥. s∏-Sp-Ø-s∏´ Hcp t\mh¬. tIc-f-Ønse Imk¿tIm´v Pn√-bnse G‰hpw hSt° A‰Øp≈ Ign™ Znhkap≠mb A\p-`hw IqSn ]d-bmw. F≥tUm-kƒ^m≥ \nb-a-hn-cp-≤-ambn Ipgn- Hcp {Kma-Øns‚ am{Xw IY-b√ Cu t\mh¬ hc-®p-Im-Wn-°p-∂-Xv. adn®v \m´-dn-hp-I-sfbpw ®n´ s\©w]-d-ºn¬ Bbncw th∏n≥ssX-Iƒ h\w-h-Ip∏pw at\m-c-a-bpsS "`qan-s°mcp IpS'bpw \mS≥ {]Xn-tcm-[-X-{¥-ß-sfbpw \njvI-cpWw C√m-bva-sN-bv-XXns‚ IY-bm-Wv. {]Ir-Xn-bpsS "F≥ hn kmPpw tN¿∂v \Sp-sa∂v hmbn-®-t∏mƒ ho≠pw "F≥a-IsP' Bh¿Øn-°p-I-bm- k¥p-en-Xm-h-ÿsb XI¿°p∂ Ir{Xn-a-cm-k-h-f-ßƒ D]-tbm-Kn®v Dev]m-Z\w h¿≤n-∏n-°p∂ sW∂v F\n°v tXm∂n. \oe-I-WvT≥ F≥a-I-sP-bnse Imń¬sh®v ]nSn-∏n-°p-∂Xv Bcy-th- F∂m¬ {]Ir-Xnsb A£-cm¿∞-Øn¬ \in-∏n-°p∂ kwkvIr-Xn-bpsS IY-bmWv CXv. "Aan- ∏p-I-fm-Wv. `q-an-bnse G‰hpw Huj-[-Kp-W-ap≈ acw. HSp-hn¬ ]co-£nØv ac-W-s∏-´-t∏mƒ tXm-ev]m-Z\w' F∂ D]t`mK-Xz-cbv°v Iq´p-\n¬°p∂hcmWv Cu t\mh-ense A[n-Im-cn-h¿Kw. Ahs‚ ih-Ip-So-c-Ønepw \oe-I-WvT≥ Bcy-th-∏mWv \Sp-∂-Xv. hnj-a-g-bn¬ a°ƒ \jvS- Ah¿°v tIƒ°m≥ km[n-°msX t]mIp-∂Xv aÆn-s‚bpw a\p-jy-s‚bpw \ne-hn-fn-bm-sW∂v s∏´ lmPn-dbpw aa-Xbpw a‰pw th∏n≥ssX-Iƒ \Sp∂ Nn{Xw ]nt‰∂v I≠-t∏mƒ A¤p-X- Cu t\mh¬ i‡-amb coXn-bn¬ ]d-™p-sh-bv°p-∂p. km{am-PyXzw BtKm-f-Xe-Øn¬ hym]n- tØmsS Rm≥ t\mh¬ Hm¿Ω-I-fn-eqsS IS-∂p-t]m-bn. AsX. t\mh¬ Bh¿Øn-°p-I-bm-Wv. ®-Xns‚ Zpc¥w G‰hpw kr„n-]-c-ambn AS-bm-f-s∏-Sp-Ø-s∏´ DZm-l-cWw- Iq-Sn-bmWv Cu \nL≠p km£y-s∏-Sp-Øn-bXv sIm≠v am{Xw \mw hniz-kn-t°-≠-Xn√. ^nIvj≥ sI´p-I- ]mcn-ÿn-XnI A[n-\n-th-i-Øns‚ Ncn-{Xw. Y-b-√. \pW-°-Y-b-√. sI´p-I-Y-tb-°mfpw Ahn-iz-k-\o-b-amb ]®-bmb Pohn-X-am-Wv. t]Pp-I- F≥a-I-sP-bnepw ]cn-k-c-{]-tZ-i-ß-fnepw ap∏Xv h¿j-ß-tfm-f-ambn Iipamhn≥tXm-´-ß- fpsS h°n¬\n∂p am{X-a-√, Hmtcm hm°n¬ \n∂pw tNmc s]mSn-bpw. fn¬ Xfn-°p∂ F≥tUm-kƒ^m≥ F∂ hnjw a\p-jy-s\bpw Poh-Pm-e-ß-sfbpw C√m-Xm- °n-s°m-≠n-cn-°p∂ IY {]Ir-Xn-bpsS AXn-Po-h-\-Øns‚ \ne-hn-fn-bm-Wv. "F≥aI-sP-bpsS kXyw' F∂ teJ-\-Øn¬ t\mh-enÃv Cßs\ Fgp-Xp∂p ""Akm-[m-c-W-amb \ni-–-X-bmWv "F≥a-IsP' F∂ ]pXnb t\mh-ens‚ Bcw-`-Ønepw Ah-km-\-Øn-epw. F∂m¬ t\mh¬ \ne-hn-fn-bmWv F∂v F\n°v icn°pw t_m[y-s∏-´Xv "F≥a-I-sP'bpsS cN-\m-Im-e-Øm-Wv.'' AsX CsXmcp \ne-hn-fn-bm-Wv. sNdpØv \n¬∏n-s‚bpw {]Xn-tcm-[-Øn-s‚bpw \ne-hn-fn. H∏w XI¿°s∏´-h-cp-sSbpw. At±lw XpS¿s∂gp-Xp-∂p. ""Hcp kXy-ap≠v F≥aIsP-bpsS

77 78 Ecoaesthetics and Literature

Zp:Jw \ne-hn-ep≈ Hcp `mj-bnepw hnh-cn-°m-\m-hp-I-bn-√. Hcp t\mhepw AXn\v aXn-bm-hp-I- bn-√. B Zp:JØn\v ]I-cw-sh-bv°m≥ Cu `qan-bn¬ as‰m-∂p-an-√.'' AtX CXv Ah-km-\n- °mØ Zp:Jam-Wv. aÆn-s‚bpw a\p-jys‚bpw Ah-km-\n-°mØ \ne-hn-fn. HSp-ßmØ Ic- ®n¬. ]cn-ÿn-Xn-bpsS IÆp\o¿! ]cn-jvIr-Xn-bp-sSbpw hnI-k-\-Øn-s‚bpw Zpc-¥-amWv F≥a-I-sP-bn¬ kw-`-hn-°p-∂-Xv. \mK-cn-I-Xbpw hnI-k-\-{]-h¿Ø-\-ßfpw ]cn-jvIm-c-ßfpw kwkvIm-c-Ønepw kaq-l-Ønepw \nc-h[n \∑-Isf sIm≠p-h-∂n-´p-≠v. AtXm-sSm∏w Xs∂ {]Ir-Xnsb XI¿°p∂ AXns\ A-k-¥p-en-X-am-°p∂ \in-∏n-°p∂ \nc-h[n {]Xn-tem-a-hn-\m-ii-‡nIsfbpw ]cn-jvImcw a\p- jy\v kΩm-\n-°p-∂p-≠v. CØ-c-Øn¬ ]cn-jvIr-Xn-bpsSbpw \n¿Zbamb Nn¥m-iq-\y-X-bpsSbpw Cc-I-fmWv km[m-c-W-a\p-jy¿. a\p-jy-cn¬ hnizmkw \„-s∏-´-Xn-\m¬ a\p-jy-sc-Im-Wm-Xn- cn-°m≥ Im´n¬ CSw tXSp∂ c≠v a\p-jy-cn-eqsS hfsc \mS-Io-b-ambn Bcw-`n-°p∂ t\mh¬ ]n∂oSv aÆn-s‚bpw a\p-jy-s‚bpw \ne-hn-fn-Iƒ°v DØcw \¬Ip∂ a\p-jysc hm¿sØ-Sp- °p∂ Hcp `qan-I-bmbn amdp-∂-XmWv ImWp-∂-Xv. hnI-k\w hnj-a-g-bmbv s]bvXn-d-ßn-b-t∏mƒ Ah¿ Xncn-®-dn-bp-I-bm-bn-cp∂p hnI-k\w kΩm-\n-°p∂ A\o-Xnbpw AkaXzhpw. ]c-kv]- cm-{in-X-Xz-Øns‚ henb he-bn¬ \ne-\n¬°p∂ `qan-bnse Poh≥ Gsd t{ijvT-am-sW∂pw hne-s∏´-Xm-sW∂pw Cu t\mh¬ \sΩ ]Tn-∏n-°p∂p. Cu ]c-kv]-cm-{inXXz-Øns‚ IY ad- ∂p-t]m-Ip-∂-XmWv ]mcn-ÿn-XnI Zpc-¥-Øn\v ImcWw F∂ Xncn-®-dnhv Cu t\mh¬ kΩm- \n-°p-∂p-≠v. F≥tUm-kƒ^m≥ F∂ hnj-ag ""hcm-¥-bpsS Ff-a-c-Øn¬ Pb-cm-P-\-cnsI h∂n-cp∂v tZh-bm\n tNmZn®p: ""Cu IoS-\m-in\n {Zh-cq-]-Øn-emtWm? Pb≥ I≠n-´p-t≠m?'' ""I≠n-´p-≠v. Xhn´v \nd-ap≈ Hcp-s]m-Sn. taen¬ Fhn-sS-sb-¶nepw ]‰n-t∏m-bm¬ sNma∂v XSn-®p-h-cpw. apdn-hn¬ ]pc-≠m¬ At∏mƒ t_m[-t°-Sm-Ipw. Un.Un.-‰n. t]mse Hm¿Kt\m t¢mdn≥ hn`m-K-Øn¬s]-Sp∂ Hcp IoS-\m-in-\n-bmWnXv. C˛-kƒ^m≥, F≥tUm-Ãm¿, F≥tUm-k¨, At{Km-kƒ^m≥, _ms\-Pv kƒ^m≥, AKn-\-tcm kƒ^m≥, kntbm kƒ^m≥, F≥tUm- sk¬, F≥tUm\n‰v, F≥tUm-an≥, ln¬Um≥, F≥tUm-Sm^v XpSßn Aº-Xn-e-[nIw t]cp- I-fn-emWv C¥y-bn-enXv am¿°‰v sNøp-∂Xv'' (t]Pv 115). buh-\hpw kuµ-cyhpw XI¿°-s∏´ `qan-bpsS \ne-hn-fn-bmWv Aw_n-Im-kpX≥ amßmSv A\m-h-cWw sNøp-∂-Xv. Imk¿t°ms´ {Kma-ß-fn¬ h¿j-ßƒ \o≠ F≥tUm-kƒ^m≥ {]tbmKw aÆns\ hnj-a-b-am°n a\p-jysc alm-tcm-Kn-I-fm-°n. AΩ-bpsS kvt\lw Xs∂- bmb AΩn-™-∏m-en¬ t]mepw Cu hnj-Øns‚ kzm[o\w Is≠-Øn-bn-cn-°p-∂p. Poh-\n- √mØ Ah-ÿ-bn-te°v t]mbn-s°m-≠n-cn-°p∂ `qansb AXn¬\n∂v c£n-°m-\p≈ [m¿Ωn- I-amb IS-∏mSv IqSn Cu t\mh¬ hc-®p-Im-Wn-°p-∂p. aÆn-s\-°p-dn-®p≈ DXvIWvT a\p- jys\°pdn®pw IqSn-bp≈ DXvI-WvT-bm-Wv. kr„nbpw XpS¿®bpw B{K-ln-°p-∂-h-cn¬ cq]- s∏-Sp∂ Akz-ÿ-X-bm-Wv. kmº-Øn-I-hn-I-k-\-Øns‚ t]cn¬ `c-W-Iq-Shpw aqe-[-\-i-‡n- I-fpw, hymh-km-bnI km{am-Py-Xzhpw ASn-t®¬∏n-°p∂ ]≤-Xn-I-fpsS ]cn-W-X-^ew Ak- am-[m-\hpw Ak-¥p-en-X-Xzhpw BsW∂v hcp-∂p. Ncn-{X-Øn¬ CSw-In-´msX t]mb F≥tUm- kƒ^m≥ ka-c-Øns‚ BZy-L-´-amWv Cu IrXn-bn¬ Fgp-X-s∏-Sp-∂-Xv.

79 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

Zp:Jw \ne-hn-ep≈ Hcp `mj-bnepw hnh-cn-°m-\m-hp-I-bn-√. Hcp t\mhepw AXn\v aXn-bm-hp-I- F≥a-IsP F∂ {Kmaw bn-√. B Zp:JØn\v ]I-cw-sh-bv°m≥ Cu `qan-bn¬ as‰m-∂p-an-√.'' AtX CXv Ah-km-\n- {]Ir-Xnsbbpw a\p-jy-s\bpw AI-a-gn™v kvt\ln-°p-∂-h-cmWv F≥a-I-sP-Im¿. ac- °mØ Zp:Jam-Wv. aÆn-s‚bpw a\p-jys‚bpw Ah-km-\n-°mØ \ne-hn-fn. HSp-ßmØ Ic- ßfpw ImSp-Ifpw k¿∏-ßfpw b£n-Ifpw ]p√pw ]qhpw ]qºm-‰bpw F√mw Ch¿°v {]nb-s∏- ®n¬. ]cn-ÿn-Xn-bpsS IÆp\o¿! ´-Xm-Wv. ""\mKm-cm-[-\bpw `qXm-cm-[-\bpamWv F≥a-I-sP-bn¬ apJyw. \mKm-cm-[-\-bn¬ {]Ir- ]cn-jvIr-Xn-bp-sSbpw hnI-k-\-Øn-s‚bpw Zpc-¥-amWv F≥a-I-sP-bn¬ kw-`-hn-°p-∂-Xv. Xn-kw-c-£-W-Øns‚ henb HcpkwKXnbp≠v. [mcm-f-am-bp≈ Cu Imhp-Iƒ ssPh-ssh-hn- \mK-cn-I-Xbpw hnI-k-\-{]-h¿Ø-\-ßfpw ]cn-jvIm-c-ßfpw kwkvIm-c-Ønepw kaq-l-Ønepw [y-sØbpw sh≈sØbpw \∂mbn kwc-£n-°p-∂p. Imhp-Iƒ Bcpw ssItb-dp-I-bn-√, acw \nc-h[n \∑-Isf sIm≠p-h-∂n-´p-≠v. AtXm-sSm∏w Xs∂ {]Ir-Xnsb XI¿°p∂ AXns\ apdn-°n-√. Hcp hnd-Ins‚ IjvWw-t]mepw FSp-°n-√. AXmWv Chn-SpsØ coXn'' (t]Pv 107). A-k-¥p-en-X-am-°p∂ \in-∏n-°p∂ \nc-h[n {]Xn-tem-a-hn-\m-ii-‡nIsfbpw ]cn-jvImcw a\p- ""Hcp-Im-eØv ssP\≥am-cpsS \mSm-bn-cp∂p F≥a-I-sP. k‘y-bm-Ip-tºmtg Ah¿ jy\v kΩm-\n-°p-∂p-≠v. CØ-c-Øn¬ ]cn-jvIr-Xn-bpsSbpw \n¿Zbamb Nn¥m-iq-\y-X-bpsSbpw `£Ww Ign-®p-In-S-°p-a-t{X. hnf°v IØn-®m¬ ]m‰-Ifpw {]mWn-Ifpw hnf-°ns‚ Xobn¬ Cc-I-fmWv km[m-c-W-a\p-jy¿. a\p-jy-cn¬ hnizmkw \„-s∏-´-Xn-\m¬ a\p-jy-sc-Im-Wm-Xn- h∂p-hoWv NØp-t]m-Im-Xn-cn-°m≥'' (t]Pv 108) kl-Po-hn-I-tfmSv Akm-am-\y-amb Icp-X¬ cn-°m≥ Imń¬ CSw tXSp∂ c≠v a\p-jy-cn-eqsS hfsc \mS-Io-b-ambn Bcw-`n-°p∂ t\mh¬ kq£n-°p∂ a\- p-Ifmbn-cp∂p B \mń¬. ]n∂oSv aÆn-s‚bpw a\p-jy-s‚bpw \ne-hn-fn-Iƒ°v DØcw \¬Ip∂ a\p-jysc hm¿sØ-Sp- ""aesb Np‰n-sbm-gpIn hcp∂ tXmSns‚ adp-I-c-bnse√mw Ihp-ßn≥ tXm´-ß-fm-Wv. °p∂ Hcp `qan-I-bmbn amdp-∂-XmWv ImWp-∂-Xv. hnI-k\w hnj-a-g-bmbv s]bvXn-d-ßn-b-t∏mƒ tXmń≥ Ic-bn¬ ImWm-hp-∂n-S-tØmfw sNº-c-Øn-sN-Sn-bpsS Icn-º® then-Iƒ. BZy-ambn Ah¿ Xncn-®-dn-bp-I-bm-bn-cp∂p hnI-k\w kΩm-\n-°p∂ A\o-Xnbpw AkaXzhpw. ]c-kv]- {Kma-Øn-te°v h∂-t∏mgpw Ign™ Znh-k-ß-fn¬ tXm´-ß-fn-eqsS shdpsX \S-∂-t∏mgpw sNº- cm-{in-X-Xz-Øns‚ henb he-bn¬ \ne-\n¬°p∂ `qan-bnse Poh≥ Gsd t{ijvT-am-sW∂pw c-Øn-s®-Sn-Iƒ shń-sbm-Xp-°n-bp-≠m-°nb th-en-Iƒ {i≤-bn¬s∏-ń-cp-∂p. ap≈p-th-en-Iƒ hne-s∏´-Xm-sW∂pw Cu t\mh¬ \sΩ ]Tn-∏n-°p∂p. Cu ]c-kv]-cm-{inXXz-Øns‚ IY ad- Fßpw I≠-Xmbn \oe-I-WvT\v Hm¿Ω-h-∂n-√. CXv F≥a-I-sP-bpsS am{Xw khn-ti-j-X-bm- ∂p-t]m-Ip-∂-XmWv ]mcn-ÿn-XnI Zpc-¥-Øn\v ImcWw F∂ Xncn-®-dnhv Cu t\mh¬ kΩm- Wv. ap≈p-I-fn-√mØ, Ft∏mgpw ]pjv]n-°p∂ AXn¿Øn-Iƒ. bm{Xn-Is\ ap≈p-Iƒs°m≠v \n-°p-∂p-≠v. Ib-dn-∏n-Sn-°p-I-bn-√. A]-cn-Nn-X-\m-sW-¶nepw hnS¿∂ ]q®n-cn-IƒsIm≠v kzmKXw sNøpw F≥tUm-kƒ^m≥ F∂ hnj-ag (t]Pv 55) CXmWv "F≥a-IsP' F∂ \mSns‚ kwkvIm-cw. ""hcm-¥-bpsS Ff-a-c-Øn¬ Pb-cm-P-\-cnsI h∂n-cp∂v tZh-bm\n tNmZn®p: kXy-Øn-s‚bpw \∑-bp-sSbpw ]®-∏n-s‚bpw A„-kw-kvIm-c-Øn-s‚bpw \mSv. CXp-t]mse ""Cu IoS-\m-in\n {Zh-cq-]-Øn-emtWm? Pb≥ I≠n-´p-t≠m?'' G‰hpw A[nIw `mj-Ifpw PmXn-Ifpw Xma-kn-°p∂ as‰mcp \mSv tIc-f-Øn-en-√. Xpfp, sIm¶n-Wn, adm-Tn, _ymcn, Ad-_n, D¿Zp, I∂-S, ae-bmfw XpSßn Fń-e-[nIw `mjbpw ""I≠n-´p-≠v. Xhn´v \nd-ap≈ Hcp-s]m-Sn. taen¬ Fhn-sS-sb-¶nepw ]‰n-t∏m-bm¬ sNma∂v kwkvIm-chpw ChnsS \ne-\n¬°p-∂p. A[:ÿnXs‚ IÆo-cp-∏p-I-e¿∂ tXm‰-ßfmWv F≥a- XSn-®p-h-cpw. apdn-hn¬ ]pc-≠m¬ At∏mƒ t_m[-t°-Sm-Ipw. Un.Un.-‰n. t]mse Hm¿Kt\m t¢mdn≥ I-sP-bpsS as‰mcp {]tXy-I-X. Cu {]tXy-I-X-Iƒ Xs∂-bmWv Cu \mSns\ ssPh-˛-kwhn`m-K-Øn¬s]-Sp∂ Hcp IoS-\m-in-\n-bmWnXv. C˛-kƒ^m≥, F≥tUm-Ãm¿, F≥tUm-k¨, kvIm-c-˛`mjm sshhn-[y-Øns‚ t]cn¬ AS-bm-f-s∏-Sp-Øn-bXv. At{Km-kƒ^m≥, _ms\-Pv kƒ^m≥, AKn-\-tcm kƒ^m≥, kntbm kƒ^m≥, F≥tUm- sk¬, F≥tUm\n‰v, F≥tUm-an≥, ln¬Um≥, F≥tUm-Sm^v XpSßn Aº-Xn-e-[nIw t]cp- F≥a-IsP ˛ Hcp t]mcm-´-Øns‚ IY I-fn-emWv C¥y-bn-enXv am¿°‰v sNøp-∂Xv'' (t]Pv 115). Imk¿tImSv Pn√-bnse Iip-am-hn≥ tXm´-ß-fn¬ F≥tUm-kƒ^m≥ kr„n® cmk-Zp-c- buh-\hpw kuµ-cyhpw XI¿°-s∏´ `qan-bpsS \ne-hn-fn-bmWv Aw_n-Im-kpX≥ amßmSv ¥-ß-fpsS t\¿°v Hcp kaqlw Ah-cpsS Pohn-Xw-sIm≠v \S-Ønb t]mcm-´-Øns‚ IY A\m-h-cWw sNøp-∂-Xv. Imk¿t°ms´ {Kma-ß-fn¬ h¿j-ßƒ \o≠ F≥tUm-kƒ^m≥ {ia-I-c-amb Hcp Dbn¿sØ-gp-t∂-ev]m-Wv. Hcp \mSns‚, P\-X-bpsS, kwkvIm-c-Øns‚ \ne- {]tbmKw aÆns\ hnj-a-b-am°n a\p-jysc alm-tcm-Kn-I-fm-°n. AΩ-bpsS kvt\lw Xs∂- \n-ev]ns\ Xs∂bpw Ań-a-dn-°m≥ {ian-®-h¿°v t\sc-bp≈ {]Xn-I-c-W-Øns‚ \ne-hn-fn. bmb AΩn-™-∏m-en¬ t]mepw Cu hnj-Øns‚ kzm[o\w Is≠-Øn-bn-cn-°p-∂p. Poh-\n- F≥tUm-kƒ^m≥ hncp-≤-t]m-cm-´-ß-fnse bYm¿∞ IYm-]m-{X-ß-fpsS {]Xn-\n-[n-I-fmbn √mØ Ah-ÿ-bn-te°v t]mbn-s°m-≠n-cn-°p∂ `qansb AXn¬\n∂v c£n-°m-\p≈ [m¿Ωn- t\mh-en¬ {iocm-a-`-´v, tUm. AcpÏp-am¿, eoem-Ip-am-cn-b-Ω, PbcmP≥ F∂n-h¿ IS-∂p-h-cp- I-amb IS-∏mSv IqSn Cu t\mh¬ hc-®p-Im-Wn-°p-∂p. aÆn-s\-°p-dn-®p≈ DXvIWvT a\p- ∂p. Ch-sc√mw a\- n¬ \∑-bp-≈-hcpw ]®-∏p-≈-hcpw A]-cs‚ thZ-\-Iƒ°v t\sc sNhn jys\°pdn®pw IqSn-bp≈ DXvI-WvT-bm-Wv. kr„nbpw XpS¿®bpw B{K-ln-°p-∂-h-cn¬ cq]- Xpd°p∂-h-cpambncp-∂p. {]Ir-Xn-tbmSv tN¿∂v Pohn® Chn-SpsØ a-\p-jy¿ kXy-Øn-\p-th≠n, s∏-Sp∂ Akz-ÿ-X-bm-Wv. kmº-Øn-I-hn-I-k-\-Øns‚ t]cn¬ `c-W-Iq-Shpw aqe-[-\-i-‡n- \∑-bv°p-th-≠n, \ne-\n-ev]n-\p-th≠n {]Xn-tcm-[n-°p-I-bm-bn-cp-∂p. I-fpw, hymh-km-bnI km{am-Py-Xzhpw ASn-t®¬∏n-°p∂ ]≤-Xn-I-fpsS ]cn-W-X-êw Ak- ""IoS-\m-in-\n-bpsS B]-XvI-c-amb hm¿Ø-I-fn¬\n∂v Hgn-™p-amdn \S-°p∂ `c-W-I¿Øm- am-[m-\hpw Ak-¥p-en-X-Xzhpw BsW∂v hcp-∂p. Ncn-{X-Øn¬ CSw-In-´msX t]mb F≥tUm- hns‚ apºn¬ {]t£m-`-Im-cn-Iƒ a\p-jy-]q-°-f-sam-cp-°p-∂Xv Poh-—-h-ß-fmb Cu _enbmSpI- kƒ^m≥ ka-c-Øns‚ BZy-L-´-amWv Cu IrXn-bn¬ Fgp-X-s∏-Sp-∂-Xv.

79 80 Ecoaesthetics and Literature sf-sh-®p-sIm-≠m-Wv. AXv t\cn¬I-≠n-´p-t]mepw a\- -en-bmØ t\Xmhv £p`n-X-\m-hp-∂Xv Cßs\: ""F≥tUm-kƒ^m≥ hnj-a-√, acp-∂mWv'' AtXm-Sp-IqSn a\p-jy-c-S-°-ap≈ Poh-Pm-e- ßƒ°v ac-W-Øn-te-°pw imiz-X-am-b tcm-Km-h-ÿ-bn-te°pw Ipdn-∏Sn \evIp∂ Cu t\Xm- hns‚ cm{„o-b-t\-Xr-Xz-Øn\v Iogn-ep≈ s]mXp-ta-J-em-ÿm-]-\-Øns‚ Dev]m-Z-\-X-{¥-ßƒs°- Xnsc kacw i‡-am-°p-∂p. \oe-I-WvT\pw tZh-bm-\n-°psam∏w ]{X-{]-h¿Ø-I-\mb {iocm-a\pw PbcmP\pw tUm. Acp¨Ip-amdpw F≥a-I-sP-bnse \nk-lm-b-cmb a\p-jycpw tN¿∂v \S-Øp∂ t]mcm´w tIhew {]mtZ-in-I-amb Hcp {]Xn-tj[w am{X-a-√. Cu `qan-bn¬ Pohn-°m-\p≈ GsXmcp a\p-jy-s‚bpw Ah-Im-i-kacw IqSn-bm-Wv. ""IpSn-sh-≈-Øn¬ am{X-a√ AΩ-bpsS ape-∏m-en¬t]mepw hnjw Ie¿Øm≥ aSn-°mØ BtKm-f-Ip-Ø-I-Iƒs°Xn-sc-bp≈ i‡amb Xm°oXp IqSn-bm-Wn-Xv'' (Fw. P¬k˛hnj- Øn¬ Ie-cp∂ ape-∏m¬, {KŸm-temIw Pqsse 2010). Cu t]mcm-´-Øns‚ AXn-Po-h-\-Øns‚ IY ]mcn-ÿn-Xn-I-amb c£-bp-sSbpw t\´-Øn- s‚bpw {]Xo-£-bp-sSbpw apIp-f-ß-fmbn kaq-l-a\:km£n-bn¬ sXfn-™p-sIm-≠n-cn-°p-∂p. aÆn-s‚bpw a\p-jy-s‚bpw \ne-hnfn t\mh-enÃv Fgp-Xp∂p: ""A\y-{K-l-Po-hn-I-sf-t∏mse hnNn-{X-amb DS-ep-I-fp-ambn ]nd∂ Ip™p-ßsf ImWp-tºmƒ, Ah-cpsS amXm-]n-Xm-°-tfmSv kwkm-cn-°p-tºmƒ A\p-`-hn® Zp:Jw Hcp `mj-bnepw ]I¿Øm-\m-hp-I-bn√ F∂pw Hcp \ne-hn-fn-sIm≠pw Af-°m-\m-hp-I-bn√ F∂pw F\n-°-dn-bm-am-bn-cp-∂p'' (tXm¿® amkn-I, HtŒm-_¿-˛-\-hw-_¿ 2009). CØ-c-Øn¬ Af-°m-\m-hmØ ]I¿Øm-\m-hmØ aÆn-s‚bpw a\-kn-s‚bpw \ne-hn-fn-bmWv "F≥a-IsP' F∂ t\mhens\ kmln-Xy-Øn¬ Hcp Zpc-¥-Im-hy-ambn Fgp-Xn-t®¿Ø-Xv. P\-Io-bm-tcm-Ky- {]-ÿm-\-ßfpw ]cn-ÿn-Xn-{]-h¿ØIcpw CS-s]´ Cu Zpc-¥-`q-an-bn-tebv°v FØn-t®¿∂v Cu Zpc-¥-`q-ansb t\mh-ens‚ ]cn-X-ÿn-Xn-bn-te°v sIm≠p-h-cnI F∂ {ia-I-c-amb ZuXyw a\:km£n-bp-≈-h-cpsS a\- n¬ Hcp DW¿Øp-]m-´mbn \ne-sIm-≈p∂p. c≠m-bn-c-Øn-\p-ap- ºp≈ F≥a-IsP {Kma-Øns‚ Ncn-{Xhpw kwkvIm-chpw BWv t\mh-en¬ kq£va-ambn Fgp- Xn-t®¿Øn-cn-°p-∂-Xv F¶nepw t\mh-ens‚ kmaq-ln-I-hy-h-ÿn-Xn-Iƒ C∂sØ GXv ]mcn- ÿn-Xn-I-{]-Xn-k-‘n-Iƒ°pw t\sc ]nSn-®n-cn-°p∂ Hcp IÆm-Sn-bm-Wv. ]mcn-ÿn-XnI {]Xn-k- ‘n-Iƒ°v t\sc-bp≈ Hcp \n-e-hn-fn-bm-Wv. F≥a-I-sP-bnse ]q¿∆n-I-cmb ssP\¿ Hcn-°epw k‘ym-t\-cØv hnf°v IØn®ncp-∂n- √. cm{Xnsb `b-∂nt´m shfn®w Zp:Jsa∂v Icp-Xn-bnt´m A√m-bn-cp∂p Cu A‘-Im-c-kzo-I-c- Ww. adn®v hnf-°p-I≠v BIr-„-cmbn ]m™p-h-cp∂ {]mWn-Iƒ NØp-ho-gm-Xn-cn-°m-\m-bn- cp∂p Cu ap≥I-cp-X¬. Cu aÆn-emWv a\p-jy-cpw arK-ßfpw Poh-Pm-e-ßfpw F√mw hnj-a- g-tb‰v Icn-™p-t]m-b-Xv. F¶nepw Ah-cpsS kz]v\-ßtfm AXn-Po-h-\-Øn-\p≈ B{K-l-ßtfm Icn-™p-t]m-bn-√. ""F≥a-I-sP-bn¬ hnj-a-g-bpsS {]fbw XpS-ßp-tºmƒ Poh-Pm-e-ßfn¬ tijn®h ChnsS A`bw tXSn hkn-°pw... hnj-ag s]bvXp Xocp-∂-Xp-h-sc...'' (t]Pv 194) t\mh-ens‚ Ah-km-\-`m-KØv Kpl-\-S-Øp∂ {]Jym-]\w a\p-jy-lr-Z-b-ßƒ acn-®n-´n√ F∂-

81 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal sf-sh-®p-sIm-≠m-Wv. AXv t\cn¬I-≠n-´p-t]mepw a\- -en-bmØ t\Xmhv £p`n-X-\m-hp-∂Xv Xns‚ sXfn-hm-Wv. t\mh-ense i–n-°p∂ Kpl a\p-jys‚ \∑-h-‰mØ a\- m-Wv, Nn¥-bm- Cßs\: Wv, i–-am-Wv. ""F≥tUm-kƒ^m≥ hnj-a-√, acp-∂mWv'' AtXm-Sp-IqSn a\p-jy-c-S-°-ap≈ Poh-Pm-e- ""s]s´∂v k©n De-bp-∂-Xp-t]mse Kpl ]Xps° Nm©m-Sp-hm≥ XpS-ßn. Kpl-bpsS ßƒ°v ac-W-Øn-te-°pw imiz-X-am-b tcm-Km-h-ÿ-bn-te°pw Ipdn-∏Sn \evIp∂ Cu t\Xm- D≈n¬ hfsc D≈n¬ \£-{Xw-t]mse Hcp shfn-®w {]Xy-£-s∏-´p. BZ-chp Ie¿∂ kzc- hns‚ cm{„o-b-t\-Xr-Xz-Øn\v Iogn-ep≈ s]mXp-ta-J-em-ÿm-]-\-Øns‚ Dev]m-Z-\-X-{¥-ßƒs°- Øn¬ Kpl ]d™p: ""Bcpw i–n-°-cp-Xv.'' Xnsc kacw i‡-am-°p-∂p. k¿∆-Po-h-Pm-e-ßfpw shfn®w I≠ Zn°n-te°v \n»-–-cmbn t\m°n. BcmWv hcp- \oe-I-WvT\pw tZh-bm-\n-°psam∏w ]{X-{]-h¿Ø-I-\mb {iocm-a\pw PbcmP\pw ∂Xv? tUm. Acp¨Ip-amdpw F≥a-I-sP-bnse \nk-lm-b-cmb a\p-jycpw tN¿∂v \S-Øp∂ t]mcm´w s]m≥sh-fn®w kao-]-ÿ-am-hm≥ XpS-ßn-b-t∏mƒ ]pcp-j\pw kv{Xobpw Xncn-®-dn-™p. tIhew {]mtZ-in-I-amb Hcp {]Xn-tj[w am{X-a-√. Cu `qan-bn¬ Pohn-°m-\p≈ GsXmcp shfn-®-a√! a\p-jy-s‚bpw Ah-Im-i-kacw IqSn-bm-Wv. kz¿W-\n-d-ap-s≈mcp arK-am-Wv. D≈ns‚bp≈n¬ \n∂pw ]Xps° \S-∂p-h-cp-∂-Xv. ""IpSn-sh-≈-Øn¬ am{X-a√ AΩ-bpsS ape-∏m-en¬t]mepw hnjw Ie¿Øm≥ aSn-°mØ kv{Xo ]d™p: BtKm-f-Ip-Ø-I-Iƒs°Xn-sc-bp≈ i‡amb Xm°oXp IqSn-bm-Wn-Xv'' (Fw. P¬k˛hnj- Øn¬ Ie-cp∂ ape-∏m¬, {KŸm-temIw Pqsse 2010). ""t\m°q, AXv Hcp Igp-X-bm-Wv.'' Cu t]mcm-´-Øns‚ AXn-Po-h-\-Øns‚ IY ]mcn-ÿn-Xn-I-amb c£-bp-sSbpw t\´-Øn- B›-cy-tØmsS ]pcp-j≥ Xe-Ip-ep-°n. s‚bpw {]Xo-£-bp-sSbpw apIp-f-ß-fmbn kaq-l-a\:km£n-bn¬ sXfn-™p-sIm-≠n-cn-°p-∂p. ""AtX Hcp Igp-X-bmWv.'' aÆn-s‚bpw a\p-jy-s‚bpw \ne-hnfn F√m Poh-Pm-e-ßƒ°pw ImW-Ø-°-hn-[-Øn¬ IgpX Hcp henb ]md-°-√nt∑¬ Ibdn \n∂p'' (t]Pv 194) t\mh-enÃv Fgp-Xp∂p: ""A\y-{K-l-Po-hn-I-sf-t∏mse hnNn-{X-amb DS-ep-I-fp-ambn ]nd∂ Ip™p-ßsf ImWp-tºmƒ, Ah-cpsS amXm-]n-Xm-°-tfmSv kwkm-cn-°p-tºmƒ A\p-`-hn® Zp:Jw Kpl-bn¬ {]Xy-£-s∏´ shfn®w \∑-bpsS shfn-®-am-Wv, Cu shfn-®-tØmSv ASp-°p- Hcp `mj-bnepw ]I¿Øm-\m-hp-I-bn√ F∂pw Hcp \ne-hn-fn-sIm≠pw Af-°m-\m-hp-I-bn√ tºm-gmWv AXn\v Poh-\p-s≠∂v a\- n-em-hp-I. AtX \∑-bpsS shfn®w D]-t`m-K-Xr-jvW- F∂pw F\n-°-dn-bm-am-bn-cp-∂p'' (tXm¿® amkn-I, HtŒm-_¿-˛-\-hw-_¿ 2009). CØ-c-Øn¬ tbmSpw Aan-tXm-ev]m-Z-\-tØmSpw {Ia-c-ln-X-amb F√m-Øn-t\mSpw i‡-ambn {]Xn-I-cn-°p- Af-°m-\m-hmØ ]I¿Øm-\m-hmØ aÆn-s‚bpw a\-kn-s‚bpw \ne-hn-fn-bmWv "F≥a-IsP' ∂p. _p≤n-hn-lo-\-sa∂v temIw Icp-Xp∂ Nne Xocp-am-\-ßƒ FSp-°p-∂p. t\mh-ens‚ Ah- F∂ t\mhens\ kmln-Xy-Øn¬ Hcp Zpc-¥-Im-hy-ambn Fgp-Xn-t®¿Ø-Xv. P\-Io-bm-tcm-Ky- km-\-Øn¬ {]Xy-£-s∏-Sp∂ IgpX \sΩ Hm¿Ω-s∏-Sp-Øp-∂Xpw AXm-Wv. hnI-k-\-Øns‚ {]-ÿm-\-ßfpw ]cn-ÿn-Xn-{]-h¿ØIcpw CS-s]´ Cu Zpc-¥-`q-an-bn-tebv°v FØn-t®¿∂v Cu ]n∂mse ]mbp∂ {]mtbm-Kn-I-_p-≤n-bpsS ap∂n¬ \∑-bp-≈-h¿ Igp-X-I-fm-Ip-∂p. km{am-Py- Zpc-¥-`q-ansb t\mh-ens‚ ]cn-X-ÿn-Xn-bn-te°v sIm≠p-h-cnI F∂ {ia-I-c-amb ZuXyw Xz-Øn-s‚bpw A[n-\n-th-i-Øn-s‚bpw kwkvIm-c-ßƒ°v t\sc apJw Xncn-°p-I. Igp-X-sb∂v a\:km£n-bp-≈-h-cpsS a\- n¬ Hcp DW¿Øp-]m-´mbn \ne-sIm-≈p∂p. c≠m-bn-c-Øn-\p-ap- temIw hn[n-sb-gp-Xn-bmepw Hm¿°pI! Igp-X-bmb \ns‚ kzc-Øn\v kI-e-N-cm-N-chpw ºp≈ F≥a-IsP {Kma-Øns‚ Ncn-{Xhpw kwkvIm-chpw BWv t\mh-en¬ kq£va-ambn Fgp- ImtXm¿°pw. ImcWw CXv \∑-bpsS kzc-am-Wv. kXy-Øns‚ i–-am-Wv. A]c-\p-th-≠n- Xn-t®¿Øn-cn-°p-∂-Xv F¶nepw t\mh-ens‚ kmaq-ln-I-hy-h-ÿn-Xn-Iƒ C∂sØ GXv ]mcn- bp≈ \ne-hn-fn-bpsS c£m-I-c-amb Btµmf\-am-Wv. {]Ir-Xn-sbbpw a\pjys\bpw \ap°v ÿn-Xn-I-{]-Xn-k-‘n-Iƒ°pw t\sc ]nSn-®n-cn-°p∂ Hcp IÆm-Sn-bm-Wv. ]mcn-ÿn-XnI {]Xn-k- tN¿Øv ]nSn-°mw. ‘n-Iƒ°v t\sc-bp≈ Hcp \n-e-hn-fn-bm-Wv. F≥a-I-sP-bnse ]q¿∆n-I-cmb ssP\¿ Hcn-°epw k‘ym-t\-cØv hnf°v IØn®ncp-∂n- √. cm{Xnsb `b-∂nt´m shfn®w Zp:Jsa∂v Icp-Xn-bnt´m A√m-bn-cp∂p Cu A‘-Im-c-kzo-I-c- Ww. adn®v hnf-°p-I≠v BIr-„-cmbn ]m™p-h-cp∂ {]mWn-Iƒ NØp-ho-gm-Xn-cn-°m-\m-bn- cp∂p Cu ap≥I-cp-X¬. Cu aÆn-emWv a\p-jy-cpw arK-ßfpw Poh-Pm-e-ßfpw F√mw hnj-a- g-tb‰v Icn-™p-t]m-b-Xv. F¶nepw Ah-cpsS kz]v\-ßtfm AXn-Po-h-\-Øn-\p≈ B{K-l-ßtfm Icn-™p-t]m-bn-√. ""F≥a-I-sP-bn¬ hnj-a-g-bpsS {]fbw XpS-ßp-tºmƒ Poh-Pm-e-ßfn¬ tijn®h ChnsS A`bw tXSn hkn-°pw... hnj-ag s]bvXp Xocp-∂-Xp-h-sc...'' (t]Pv 194) t\mh-ens‚ Ah-km-\-`m-KØv Kpl-\-S-Øp∂ {]Jym-]\w a\p-jy-lr-Z-b-ßƒ acn-®n-´n√ F∂-

81 82 Ecoaesthetics and Literature

13 "BXn' apt∂m´p-h-bv°p∂ ]cn-ÿnXn Z¿i\w A\q]v B‚Wn

\nc-¥-c-ambn B{I-an-°-s∏-´p-sIm-≠n-cn-°p∂ s]Æn\pw aÆn\pw th≠n-bp≈ Bflm¿∞- amb s]mcp-X-ep-I-fmWv kmdm tPmk-^ns‚ Hmtcm cN-\-I-fp-sSbpw AIhpw ]pd-hpw. B ]c- º-c-bn¬ F¥p-sIm≠pw hnkva-bn-∏n-°p-∂Xpw thdn´p-\n¬°p--∂Xp-amb cN-\-bmWv "B-Xn'. BXn-bpsS apJ-sam-gn-bn¬ Fgp-Øp-Imcn ]d-bp-∂p, ""-BXn Hcp kz-]v\-tem-Itam k¶-ev]-tZ- itam A√. BXn°p kam-\-amb ssii-h-hn-ip-≤n-Iƒ Ct∏mgpw _m°n-bp-≠v.'' AØcw CS- ßƒ \ne-\n¿tØ-≠-Xns‚ Xo{hX hy-‡-am-°p∂-p Cu IrXn. H∏w ]pXn-sbmcp ]mcn-ÿn- XnI Z¿i\w apt∂m´p-hbv°m\pw Fgp-Øp-Imcn {ian-°p∂-p≠v. "F√mw as‰-√m-‰n-t\mSpw _‘-s∏ń-cn-°p∂-p' F∂ ]cn-ÿnXn km£-cX (Ecoliteracy) Poh≥ \ne-\n¿Øp-∂Xn-\p-th≠ Adnhp-X-s∂-bm-sW∂ ]pXp-Z¿i\w \mw Cu IrXn-bn¬ \n∂v B¿÷n-°p-∂p. ip≤-hm-bp-hn\pw ip≤-P-e-Øn\pw hnjw Xo≠mØ hn`-h-ßƒ°pw th≠n Poh≥ t]mepw \¬Im≥ Xøm-dmbn \n¬°p∂ Hcp sNdp-Iq´sØ B¿Øn-bpsS ]pXp-kw- kvImcw hngp-ßn-°-f-bp--∂Xn-s‚bpw AXn-\mbn tÃ‰v F√m HØm-ibpw sNbvXp-sIm-Sp-°p--∂Xn- s‚bpw òXn-X-amb Hcp ka-Im-enI Ncn{Xw IqSn t\mh¬ hc-™n-Sp∂-p-≠v. ""aq∂mw temI cmjv{S-ß-fnse Zcn-{Zsc kw_-‘n-®v hnI-k-\-sa-∂p-sh-®m¬ kz-Po-hn-X-Ønepw kz-hn-`-h-ß- fnepw Xß-fpsS \nb-{¥Ww ASn-°Sn Ipd-bpI F∂-Xm-Wv. Ah-cpsS AXnPoh-\-t]m-cm´w IqSp-X¬ t¢-i-I-chpw Ah-cpsS AkvXn-Xzw A\n-›n-Xhpw Bbn amdn-bn-cn-°p∂-p'' F∂ an\n- amØm{]J-ym-]\w* BXnsb kw_-‘n®pw G‰hpw ASpØ kX-y-am-Wv. kz¥w aÆn¬ \n∂v IpSn-bn-d-tß≠ Ah-ÿ-bn-te°v B aÆn-s\bpw Pe-sØbpw hmbp-hn-s\bpw am‰n-Øo¿°m≥ \h-ap-X-em-fnØ hy-h-ÿn-Xn°v hfsc Ipd™ ka-bta Bh-i-y-am-bp-≈-q. "]-®-h-f'bpsS s]m´¬ BXnsb kw_-‘n®v B]¬k-qN-\-bmbn amdp-∂Xv Aß-s\-bm-Wv. an\n-am-Øm-{]-J-ym-]-\w: 1989 BKÃv 24\v P∏m-\nse an\n-am-Ø-bn¬ ktΩ-fn® P\-Iob kmaq-l-y-{]-ÿm- \-ß-fpsS Iq´p-sI´v \S-Ønb {]J-ym-]-\w. "P\-ßƒ Iq´mbn 21-˛mw \q‰m-≠nse Xß-fpsS `mK-t[bw \n¿W-bn-°-Ww' F∂mWv CXns‚ cXv\-®p-cp-°w.

83 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

tZiØv as‰-hn-sSbpw ImWmØ ]®-R-≠p-Iƒ ]®-hf F∂ Cu \£-{X-°-≠-ep-I- fpsS h\-Øn¬ hmk-°m-cm-bp-≠v. IqSmsX ]®-Ø-h-f-Ifpw ]®-i-e-`-ßfpw ]®-°m-f-Ifpw ]®n-e-∏m-ºp-I-fpw. Fgp-Øp-ImcnbpsS hm°p-I-fn¬ ]d-™m¬ ""-Im-‰n\pw ]®-\ndw Xs∂''. BXn F∂ ssPh-k-¥p-e-\-Øns‚ K¿`-Kr-l-amWv ]®-h-f. BXn-bnse hmbp-hn-s\bpw sh≈sØbpw ip≤-ambpw Im‰ns\ \n¿Ω-e-ambpw \n¿Øp∂ LS-Iw. ag-°m-Sp-I-fp-tS-Xp-t]mse ÿnc-amb Hcmhmkhy-h-ÿ-b√ I≠¬°m-Sp-I-fp-tS-Xv. then-tb-‰w-˛-th-en-bn-d-°w, IS¬°m-‰v- 13 ˛-I-c-°m-‰v, ip≤-P-e-˛-D-∏p-Pe an{inXw... Aßs\ Ft∏mgpw amdn-s°m-≠n-cn-°p∂ hfsc Zp¿_- e-amb Hcp ]cn-ÿn-Xn-bmWv I≠¬ta-J-e-bp-tS-Xv. Xo¿Øpw sNdnb CS-s]-S-ep-Iƒt]mepw "BXn' apt∂m´p-h-bv°p∂ ]cn-ÿnXn Z¿i\w Cu Bh-m-k-h-y-h-ÿsb XI¿°pw. Pohs‚ cq]m-¥cw kw`-hn-°p∂ Hcn-S-amWv I≠¬°m- Sp-Iƒ. \q‰m-≠p-I-fpsS ]cn-WX-^-e-amb Cu ssPh-k-º-ØmWv H‰-cm-{X-n-sIm≠v \in-∏n-°- A\q]v B‚Wn s∏´-Xv. sImń¬ kz¿Æw ]qim≥ sIev]p≈ht\m-sSm∏w \n¬°p∂ hy-h-ÿnXn \jvS-s∏-Sp- Øn-°-f-bp-∂Xv Hcp Iq´w kpa-\- p-I-fm¬ kwc-£n-°-s∏-Sp∂ Ah-km-\sØ ]®-Øp-cpØp \nc-¥-c-ambn B{I-an-°-s∏-´p-sIm-≠n-cn-°p∂ s]Æn\pw aÆn\pw th≠n-bp≈ Bflm¿∞- IqSn-bm-Wv. AIØv kz¿Æ-\q-tem-Sp∂ ]®-Ip-∏n-h-f-t]mse A¥n-sh-bn-en¬ Xnf-ßn-s°m- amb s]mcp-X-ep-I-fmWv kmdm tPmk-^ns‚ Hmtcm cN-\-I-fp-sSbpw AIhpw ]pd-hpw. B ]c- ≠n-cp∂ ]®-hf IS∂-p-I-b-‰-Øm¬ XI¿°-s∏-Sp∂-p. AXv Htc-k-abw Ahn-SpsØ ]cn-ÿn- º-c-bn¬ F¥p-sIm≠pw hnkva-bn-∏n-°p-∂Xpw thdn´p-\n¬°p--∂Xp-amb cN-\-bmWv "B-Xn'. Xnsb am{X-a√ kmaq-l-y-{]-Ir-Xn-sb-IqSn \in-∏n-°p∂-p-≠v. I°-hm-cepw Im∏p-I-e-°epw ao≥h- BXn-bpsS apJ-sam-gn-bn¬ Fgp-Øp-Imcn ]d-bp-∂p, ""-BXn Hcp kz-]v\-tem-Itam k¶-ev]-tZ- f¿Øepw Pohn-X-N-c-y-bm°n am‰n-b, a°ƒ°p≈ s\s√-SpØv DÆ-Ø° Adnhn-√mbva {]I-Sn- itam A√. BXn°p kam-\-amb ssii-h-hn-ip-≤n-Iƒ Ct∏mgpw _m°n-bp-≠v.'' AØcw CS- ∏n-°mØ Hcp hn`m-K-Øns‚ Pohn-X-Xm-f-amWv ChnsS apdn-™p-t]m-Ip∂--Xv. Ah-cpsS {]Xn- ßƒ \ne-\n¿tØ-≠-Xns‚ Xo{hX hy-‡-am-°p∂-p Cu IrXn. H∏w ]pXn-sbmcp ]mcn-ÿn- tj[w i‡-am-sW-¶nepw b{¥apcƒ®Iƒ°nsS kzm-`m-hnIi_vZ-ßƒ A{]-X-y-£-am-Ip∂ XnI Z¿i\w apt∂m´p-hbv°m\pw Fgp-Øp-Imcn {ian-°p∂-p≠v. ka-Im-enI bmYm¿∞yw Xs∂-bmWv Chn-sSbpw {]Xn-^-en-°p--∂Xv. "F√mw as‰-√m-‰n-t\mSpw _‘-s∏ń-cn-°p∂-p' F∂ ]cn-ÿnXn km£-cX (Ecoliteracy) kaq-l-Øns‚ sshIr-Xßfm¬ a\ v ssIhn´p-t]mb Imb¬ F∂ sIm®ps]Ïpńsb Poh≥ \ne-\n¿Øp-∂Xn-\p-th≠ Adnhp-X-s∂-bm-sW∂ ]pXp-Z¿i\w \mw Cu IrXn-bn¬ Pohn-X-Øn-te°v Xncn-sI-sIm≠p-h-cm-\mbn Ah-fpsS AΩ-tbmSv Kpcp ]d-bp--∂Xv sh≈-ap≈ \n∂v B¿÷n-°p-∂p. ip≤-hm-bp-hn\pw ip≤-P-e-Øn\pw hnjw Xo≠mØ hn`-h-ßƒ°pw th≠n tZi-tØbv°v t]mIm-\m-Wv. ""sh≈sØ Adnbp-I. shdpsX Adn™m¬ t]mcm. Xmac Poh≥ t]mepw \¬Im≥ Xøm-dmbn \n¬°p∂ Hcp sNdp-Iq´sØ B¿Øn-bpsS ]pXp-kw- sh≈sØ Adnbp--∂Xp-t]mse Adnb-Ww.'' {]Ir-Xn-bpsS kzm-`m-hn-I-X-bn¬ apgp-In-\n-∂p-sIm- kvImcw hngp-ßn-°-f-bp--∂Xn-s‚bpw AXn-\mbn tÃ‰v F√m HØm-ibpw sNbvXp-sIm-Sp-°p--∂Xn- ≠p≈ Cu AdnhmWv kX-y-Øn¬ Ipam-c≥ Nmº-em-°m≥ {ian-°p--∂Xv. ImcWw Ipam-c≥- s‚bpw òXn-X-amb Hcp ka-Im-enI Ncn{Xw IqSn t\mh¬ hc-™n-Sp∂-p-≠v. ""aq∂mw temI ""sh≈w IØn®v shfn-®-ap-≠m-°p∂--h-\m-Wv.'' ""-sh-fn-®-ap-≠m-I-s´'' F∂v Ipam-c≥ Iev]n-®p. cmjv{S-ß-fnse Zcn-{Zsc kw_-‘n-®v hnI-k-\-sa-∂p-sh-®m¬ kz-Po-hn-X-Ønepw kz-hn-`-h-ß- AtXmsS sImń-en-\-IØv Ime-ß-fmbn Xßn-\n∂ [ym-\m-fl-I-amb Ccp´v A{]-X-y-£-ambn, fnepw Xß-fpsS \nb-{¥Ww ASn-°Sn Ipd-bpI F∂-Xm-Wv. Ah-cpsS AXnPoh-\-t]m-cm´w BXn-bn¬ Nne-cp-sS-sb√mw taml-°Æv Xpd∂-p. ""-X-cn-imb `qan-bn¬ ]Xn-cp-t]mse D]-tbm-K- IqSp-X¬ t¢-i-I-chpw Ah-cpsS AkvXn-Xzw A\n-›n-Xhpw Bbn amdn-bn-cn-°p∂-p'' F∂ an\n- iq-\-y-cmb a\p-j-y¿'' D≠m-bn. amØm{]J-ym-]\w* BXnsb kw_-‘n®pw G‰hpw ASpØ kX-y-am-Wv. kz¥w aÆn¬ \n∂v Dd-hn-¶se XÆo-cp-t]mse ip≤-amb sh≈-ap≈ BXn-bnse Xma-k-°m-cn-bmb ssjeP IpSn-bn-d-tß≠ Ah-ÿ-bn-te°v B aÆn-s\bpw Pe-sØbpw hmbp-hn-s\bpw am‰n-Øo¿°m≥ Xs‚ `¿Xr-ho-ń¬ \n∂v XncnsI t]mcp-tºmƒ `¿Øm-hmb N{µ-tam-l-t\mSv ]d-™p, ""-N°w \h-ap-X-em-fnØ hy-h-ÿn-Xn°v hfsc Ipd™ ka-bta Bh-i-y-am-bp-≈-q. "]-®-h-f'bpsS s]m´¬ I≠sØ sh≈w sXfn-bp∂ Imew Rm≥ Xncn®ph-cpw.'' ImcWw N°w-I≠w a\p-j-y-a-e-°q- BXnsb kw_-‘n®v B]¬k-qN-\-bmbn amdp-∂Xv Aß-s\-bm-Wv. ºm-c-am-bn-cp∂-p. F∂m¬ N°wI≠sØ sh≈w sXfn-™n-s√∂p am{X-a√ BXn-bnse sh≈w Ie-ßp-Ibpw sNbvXp. \K-c-am-en-\yw AXnse Bº-ep-Isf Nobn-®p-I-f-™p. BXn-bnse an\n-am-Øm-{]-J-ym-]-\w: 1989 BKÃv 24\v P∏m-\nse an\n-am-Ø-bn¬ ktΩ-fn® P\-Iob kmaq-l-y-{]-ÿm- Ccp´pw \n»-_vZ-Xbpw t`Zn-®p-sIm≠v Sn∏-dp-Iƒ Nodn-∏m-™p. Ah¿ Ip∂v Ip´bn-em-°n. ""-Ip- am-c≥ Pbn®p ae tXm‰p''. \K-c-am-en-\-y-ß-fm¬ BXn-bnse tN‰pw I≠epw sh≈hpw ]qcn-X- \-ß-fpsS Iq´p-sI´v \S-Ønb {]J-ym-]-\w. "P\-ßƒ Iq´mbn 21-˛mw \q‰m-≠nse Xß-fpsS `mK-t[bw am-bn. ao\p-Iƒ NØp-a-e-®p. ""-ag s]bvXm BsI \mim'' F∂v ]d-b-Ø-°-hn[w BXn-bpsS \n¿W-bn-°-Ww' F∂mWv CXns‚ cXv\-®p-cp-°w. `qan-imkv{Xw amdn-t∏m-bn. ag-s]-bvXp; ]Sn-™m-td-Xm-gØv sh≈w Ib-dn. Bfp-Iƒ {]mW-c-

83 84 Ecoaesthetics and Literature

£m¿∞w Xß-fpsS hoSp-Iƒ Dt]-£n-®p-t]m-bn. BXn hmk-tbm-K-y-a-√m-Xm-bn. BXn-bn¬ {]IrXn am{X-a√ `mjbpw B tZ-i-°m¿°v a\- n-em-Im-Ø-Xm-bn. Ah¿ tIńń-√m-ØXpw A¿∞-a-dn-bm-Ø-Xp-amb hm°p-Iƒ ˛ t{]mP-IvSv, _n\m-an, sSIvt\m-]m¿°v, Su¨jn-∏v, \h-en-_-d¬, sslsS-Ivkn-‰n, ssk_¿kn-‰n, dmwkm¿ taJe F∂n-ß-s\. F√m ]Z-ßfpw Bh¿Øn-t®m¿an-∏n--®Xv `qan hnev]-\-bv°p≈ hkvXp-hm-sW∂-m-Wv. AXns\ FXn¿Ø-h¿s°-Xnsc t]meokv _ew {]tbm-Kn-®p. D]-tbm-K-iq-\-y-amb \K-c-am-en-\-y-ß-fm¬ NXp∏v \nI-Øn "shdpw Bfl-kw-Xr-]vXn' Is≠-Øp∂ Ipam-cs\ "\-∑bpsS \dp-\n-em-sh∂pw' "{]-iv\-]-cn-lm-c-Øn\v tImSo-i-z-c≥' F∂pw am[-y-a-ßƒ hmt\mfw ]pI-gvØn. Pohn-°m≥ sIm≈mØ BXn-tZiw hn´v t]mIp--∂h¿°v Xß-fpsS {]am-W-Øn\p ]Icw Ipam-c≥ \¬In-bXv ]pXn-sbmcp ^vfm‰m-bn-cp-∂p. BZ-y-ambn ^vfm-‰n-se-Øn-bXv Ip™n-°m- fnbpw aI≥ DÆn-tam\pw BWv. Im°-bv°n-cn-°m≥ XW-en-√mØ s]cpw-]-c-∏ns‚ HØ-\- Sp°v BImiw ap´p∂ B sIń-S-Øn¬ Ah¿ ]q¿Æ-ambn Ac-£n-X-cm-bn-cp∂-p. BXn hn´v ]pd-Øp-t]mbn XncnsI h∂ Ipam-cs‚ ]n∂mse-t]mb ]pXp-X-e-ap-d-°m-cpsS \ymbw "B-Xn- bn¬ kpJw t]mcm' F∂Xm-bn-cp∂-p. B kpJw ]pd-Øp-\n∂v Cd-°p-aXn sNbvX Bfm-bn- cp∂p Ipam-c≥. êtam BXn-bnse InW-dp-Iƒ°pw Ipfßƒ°pw tXmSp-Iƒ°pw Nmep- Iƒ°pw Ah¿ A]-cn-Nn-X-cmbn ""-Rm≥ \nßsf Hm¿°p∂-n-√ F∂v sh≈w Ah-tcmSv ]d- bpw''. BXn-bnse sh≈Øn¬°n-S∂-v -No-™-fn-bm≥ CjvS-s∏-Sm-Ø-Xn-\m¬ Ic-tXSn Ipam-c≥ \mSp-hn-´p. BZ-y-ambn BXn-bnse aÆv hn‰-h-\mWv Ipam-c≥. h¿j-ßƒ°p-tijw Xncn-sI-sb- Ønb Ah≥ sh≈w aÆn´v \nI-Øm\pw \nI-Ønb `qan hmßm\pw hn¬°m\pw Bcw-`n-®p. h¿j-ß-ƒ-°n-∏pdw Ipam-cs‚ am\-kn-Im-hÿbpambn P\n-®-h¿°v "c-£-s∏´h\m'-bn-cp∂p Ipam-c≥. Ahs‚ amXrI ]n≥]-‰m≥ Ah¿ B{K-ln-®p. Ah¿ Xß-fpsS Ipam-tc´s\ Bcm- [n-®p. Bcm¬ Xs‚ I\-ym-N¿Ωw t`Zn-°-s∏´p-thm Ah≥ A\-ym-[o\-am-°nb aÆv XncnsI ]nSn-°m\pw AXns\ hn`-h-k-ar-≤-am-°m\pw hnb-¿s∏-m-gp-°n-b-h-fmWv Ip™n-am-Xp. amdnb ]cn- X-ÿn-Xn-bn¬ Ipam-cs‚ \o°-ßƒ°v i‡-amb {]Xn-tcm[w krjvSn-°p∂-Xpw Ip™n-am-Xp - X-s∂. Ahƒ P-esØ Adn™p-sIm≠v aÆn¬ Nhnń \n∂p-sIm≠v ]pXn-sbmcp ka-c-apd {]tbm-Kn®p. {]Xn-tcm-[-Øns‚ s]Ï-cp-Ømbn Ahƒ amdn. \ne-\n¬∏n\p th≠n cq]-s∏- Sp∂ ]pXnb t]m¿apJ-ßfn¬ ho´-Ω-am-cpsS IcpØv sXfn-bp∂ h¿Ø-am-\-Im-eØv Ip™n- am-Xp-hns‚ t]mcm-´Øn\v ]pXn-b-am-\-ß-fm-Wv Iev]n-t°-≠-Xv. Ipam-cs‚ ÿe-°-®-hS GP‚mb sImº≥ tPmbn°v s]m°m-fn-∏m-SsØ s\√v IpØnb tNmdpw BXn-bpsS \o¿°-b-Øn¬ sXfn™ sIm©pw ASp-°-f-tØm-´-Ønse Ce-°-dn-Ifpw tN¿Øp \¬Inb `£Ww t]mepw amdnb ImeØv Hcp ka-c-ap-d-bm-bn-Øo-cp∂-p. X\-Xns‚ aqeyw Hm¿Ω-s∏-Sp-Øp∂ Hcp {]h¿Ø- \w, ASp-°f Xncn-®p-]nSn°ens‚ {]mtbm-KnI]mTw. a\p-j-y-Po-hn-X-Øn\p {]-IrXnbpam-bp≈ Poh-Zm-b-I-_-‘sØ ]mtS hnkva-cn-°p∂ \h- km-º-ØnI aqe-y-ß-fn¬ Hu’p-Iyw ]q≠-h-cpsS AXn-{I-a-ßfpw AXns\ XßfpsS Pohn- Xw-sIm≠v {]Xn-tcm-[n-°p∂ ]m¿i-z-h¬Ir-X-cpsS sNdp-Øp-\n¬∏pw am{X-a√ "B-Xn"-bn¬ Bhn- jvI-cn-°-s∏-Sp--∂Xv. Pohn-X-h-y-{K-X-bn¬ Ft∂m \jvS-s∏´p-t]mb {]IrXnPoh\-]m-T-ßƒ IqSn-

85 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

£m¿∞w Xß-fpsS hoSp-Iƒ Dt]-£n-®p-t]m-bn. BXn hmk-tbm-K-y-a-√m-Xm-bn. bm-Wv. BXn-tZ-i-Øns‚ hnh-c-W-Øn-eqsS IS∂-p-t]m-Ip-tºmƒ A\p-`-hn-°p∂ XWp∏pw sXfn- abpw C∂ns‚ Dujc-X-sbbpw Imep-j-y-sØbpw IpØn ]pd-sØØn°p-∂p. At∏mƒ \mapw BXn-bn¬ {]IrXn am{X-a√ `mjbpw B tZ-i-°m¿°v a\- n-em-Im-Ø-Xm-bn. Ah¿ a\- n¬ Fgp-Øp-Imcn a{¥n-®-Xp-t]mse a{¥n°pw "AWp-[qfn {]km-c-Øn∂hn-ip≤Zn\-ß- tIńń-√m-ØXpw A¿∞-a-dn-bm-Ø-Xp-amb hm°p-Iƒ ˛ t{]mP-IvSv, _n\m-an, sSIvt\m-]m¿°v, fn¬ apßn-°n-S-°m-\p≈ ]q¿∆-]p-WyIb'-amWv BXn. F∂m¬ Hcp aS°w km≤-y-a-√m-Ø- Su¨jn-∏v, \h-en-_-d¬, sslsS-Ivkn-‰n, ssk_¿kn-‰n, dmwkm¿ taJe F∂n-ß-s\. F√m hn[w B Ah-km-\-Xp-cpØpw \jvS-s∏´p-sIm-≠n-cn-°p∂-p F∂-XmWv h¿Ø-am-\-Ime ]Z-ßfpw Bh¿Øn-t®m¿an-∏n--®Xv `qan hnev]-\-bv°p≈ hkvXp-hm-sW∂-m-Wv. AXns\ bmYm¿∞-yw. BXn-bnse IYm-cm-hp-I-fpsS HSp-hn¬ Bap-J-°m-c≥ hnfn®ptNm-Zn-°p∂ AtX FXn¿Ø-h¿s°-Xnsc t]meokv _ew {]tbm-Kn-®p. D]-tbm-K-iq-\-y-amb \K-c-am-en-\-y-ß-fm¬ tNmZyw "B-Xn' \ΩpsS apºn¬ hbv°p∂-p. ""Cu IY Pohn-X-Øn-s\-ßs\ D]-bp-‡-am-°mw?'' NXp∏v \nI-Øn "shdpw Bfl-kw-Xr-]vXn' Is≠-Øp∂ Ipam-cs\ "\-∑bpsS \dp-\n-em-sh∂pw' BXnsb AXns‚ F√m sshhn-≤-y-ß-tfm-sSbpw kwc-£n-®p-sIm≠v F-∂√msX as‰m-cp-Øcw "{]-iv\-]-cn-lm-c-Øn\v tImSo-i-z-c≥' F∂pw am[-y-a-ßƒ hmt\mfw ]pI-gvØn. AXn-\n-√. ChnsS tKm{X-Ø-e-h-\mb knbm-‰n≥ aq∏≥ 1854˛¬ Ata-cn-°-bnse sh≈-°m- Pohn-°m≥ sIm≈mØ BXn-tZiw hn´v t]mIp--∂h¿°v Xß-fpsS {]am-W-Øn\p ]Icw tcmSv ]d™ AtX hkvXpX kmdm tPmk^v BXn-bn-eqsS ASn-h-c-bn-Sp-I-bmWv sNøp-∂Xv. Ipam-c≥ \¬In-bXv ]pXn-sbmcp ^vfm‰m-bn-cp-∂p. BZ-y-ambn ^vfm-‰n-se-Øn-bXv Ip™n-°m- "`qan \Ωp-tS-X-√, \mw `qan-bp-tS-Xm-Wv'. fnbpw aI≥ DÆn-tam\pw BWv. Im°-bv°n-cn-°m≥ XW-en-√mØ s]cpw-]-c-∏ns‚ HØ-\- Sp°v BImiw ap´p∂ B sIń-S-Øn¬ Ah¿ ]q¿Æ-ambn Ac-£n-X-cm-bn-cp∂-p. BXn hn´v {KŸ-kqNn ]pd-Øp-t]mbn XncnsI h∂ Ipam-cs‚ ]n∂mse-t]mb ]pXp-X-e-ap-d-°m-cpsS \ymbw "B-Xn- 1. tPm¿Pv sI. AeIvkv ˛ lcn-X-cm-jv{Sobw: Ncn{Xw kn≤m¥w {]tbmKw bn¬ kpJw t]mcm' F∂Xm-bn-cp∂-p. B kpJw ]pd-Øp-\n∂v Cd-°p-aXn sNbvX Bfm-bn- 2. Pn.-\n¿Ωe ˛ ]cnÿn-Xn-bpsS h¿Ø-am\w cp∂p Ipam-c≥. êtam BXn-bnse InW-dp-Iƒ°pw Ipfßƒ°pw tXmSp-Iƒ°pw Nmep- 3. Pn. a[p-kq-Z-\≥ ˛ lcn-X-\n-cq-]Ww ae-bm-f-Øn¬ Iƒ°pw Ah¿ A]-cn-Nn-X-cmbn ""-Rm≥ \nßsf Hm¿°p∂-n-√ F∂v sh≈w Ah-tcmSv ]d- 4. Fkv.-cm-P-ti-J-c≥ ˛ ]cn-ÿn-Xn-Z¿i\w ae-bm-f-I-hn-X-bn¬ bpw''. 5. kmdm tPmk^v ˛ BXn BXn-bnse sh≈Øn¬°n-S∂-v -No-™-fn-bm≥ CjvS-s∏-Sm-Ø-Xn-\m¬ Ic-tXSn Ipam-c≥ \mSp-hn-´p. BZ-y-ambn BXn-bnse aÆv hn‰-h-\mWv Ipam-c≥. h¿j-ßƒ°p-tijw Xncn-sI-sb- Ønb Ah≥ sh≈w aÆn´v \nI-Øm\pw \nI-Ønb `qan hmßm\pw hn¬°m\pw Bcw-`n-®p. h¿j-ß-ƒ-°n-∏pdw Ipam-cs‚ am\-kn-Im-hÿbpambn P\n-®-h¿°v "c-£-s∏´h\m'-bn-cp∂p Ipam-c≥. Ahs‚ amXrI ]n≥]-‰m≥ Ah¿ B{K-ln-®p. Ah¿ Xß-fpsS Ipam-tc´s\ Bcm- [n-®p. Bcm¬ Xs‚ I\-ym-N¿Ωw t`Zn-°-s∏´p-thm Ah≥ A\-ym-[o\-am-°nb aÆv XncnsI ]nSn-°m\pw AXns\ hn`-h-k-ar-≤-am-°m\pw hnb-¿s∏-m-gp-°n-b-h-fmWv Ip™n-am-Xp. amdnb ]cn- X-ÿn-Xn-bn¬ Ipam-cs‚ \o°-ßƒ°v i‡-amb {]Xn-tcm[w krjvSn-°p∂-Xpw Ip™n-am-Xp - X-s∂. Ahƒ P-esØ Adn™p-sIm≠v aÆn¬ Nhnń \n∂p-sIm≠v ]pXn-sbmcp ka-c-apd {]tbm-Kn®p. {]Xn-tcm-[-Øns‚ s]Ï-cp-Ømbn Ahƒ amdn. \ne-\n¬∏n\p th≠n cq]-s∏- Sp∂ ]pXnb t]m¿apJ-ßfn¬ ho´-Ω-am-cpsS IcpØv sXfn-bp∂ h¿Ø-am-\-Im-eØv Ip™n- am-Xp-hns‚ t]mcm-´Øn\v ]pXn-b-am-\-ß-fm-Wv Iev]n-t°-≠-Xv. Ipam-cs‚ ÿe-°-®-hS GP‚mb sImº≥ tPmbn°v s]m°m-fn-∏m-SsØ s\√v IpØnb tNmdpw BXn-bpsS \o¿°-b-Øn¬ sXfn™ sIm©pw ASp-°-f-tØm-´-Ønse Ce-°-dn-Ifpw tN¿Øp \¬Inb `£Ww t]mepw amdnb ImeØv Hcp ka-c-ap-d-bm-bn-Øo-cp∂-p. X\-Xns‚ aqeyw Hm¿Ω-s∏-Sp-Øp∂ Hcp {]h¿Ø- \w, ASp-°f Xncn-®p-]nSn°ens‚ {]mtbm-KnI]mTw. a\p-j-y-Po-hn-X-Øn\p {]-IrXnbpam-bp≈ Poh-Zm-b-I-_-‘sØ ]mtS hnkva-cn-°p∂ \h- km-º-ØnI aqe-y-ß-fn¬ Hu’p-Iyw ]q≠-h-cpsS AXn-{I-a-ßfpw AXns\ XßfpsS Pohn- Xw-sIm≠v {]Xn-tcm-[n-°p∂ ]m¿i-z-h¬Ir-X-cpsS sNdp-Øp-\n¬∏pw am{X-a√ "B-Xn"-bn¬ Bhn- jvI-cn-°-s∏-Sp--∂Xv. Pohn-X-h-y-{K-X-bn¬ Ft∂m \jvS-s∏´p-t]mb {]IrXnPoh\-]m-T-ßƒ IqSn-

85 86 Ecoaesthetics and Literature

14 "{]IrXnbpw ]mcnÿnXnImht_m[hpw' ˛ sk_mÃys‚ IhnXIfn¬

jn‚ Pn. s\√mbn

{]IrXn kmlnXyImc≥am¿°v F∂pw {]tNmZ\amWv. Hmtcm {]IrXnkv]µ\hpw Ahs‚ B¥cnI _mly{]IrXnsb kzm[o\n°p∂p. ]t©{µnbßfneqsS A\p`hthZyamIp∂ {]IrXnsb am\knIambpw _u≤nIambpw kmlnXyImc≥ ]p\chXcn∏n°p∂p. hnhn[ ImeL´ßfn¬ hyXykvXcoXnbn¬ {]IrXn kmlnXyØn\p hnjbo`hn°p∂p. ]pcmWImhyßƒ apX¬ B[p\nI Imhy`mh\bn¬ hsc {]IrXnbpsS Isøm∏v Z¿i\obamWv. ¢mknIv, \ntbm¢mknIv, sdmam‚nIv IrXnIfn¬ F√mw Xs∂ ]cnÿnXnbpw {]IrXnbpw IS∂phcp∂Xv bYm{Iaw a\pjyPohnXØns‚ Ahn`mPyLSIßfmbpw, Ae¶mcØn\pw h¿Æ\bv°pap≈ {]XoIßfmbpw kq£vaambn A]{KYn°m\pw hnhcn°m\pap≈ D]m[nbmbn´pamWv. F∂m¬ {]IrXnsb AanXambn NqjWwsNbvXv D]t`m‡rkaqlØnte°v am‰nb arKobamb Bk‡nIsf tNmZywsNøpIbmbncp∂p B[p\nI DØcm[p\nI Xeapd sNbvXXv. Cßs\ hnhn[ cq]Øn¬ `mhØn¬ ImeØn¬ F∂pw {]IrXnbpw ]cnÿnXnbpw IhnXbv°pw t\mhen\pw sNdpIYbv°pw hnjbßfmbn `hn®p. {]IrXn°pw ]mcnÿnXnImht_m[ßƒ°pw CSw\¬Inb sk_mÃys‚ Nne IhnXIfmWv ChnsS N¿®bv°v hnt[bamIp∂Xv. {]IrXnbptSbpw ]cnÿnXnbptSbpw taml\kp`Kamb ImgvNIfnte°√ sk_mÃys‚ IhnXIfpsS PmeIw Xpd°p∂Xv. a™Wn™ ]q°ƒ°pw aecWn°mSpIƒ°pw ]Icw, tIm¨{Io‰v ImSpIfpw NhdpIq\Ifpw ]pXnb em≥UvkvtI∏pIƒ D≠m°p∂p. `qan°v F√m CeIfpw \jvSamIp∂ hdpXnbpsS \mƒ hcp∂p F∂pw sXcphpaqSnb πmÃn°v {ZhØm¬ {]Wbw ]mdbmIp∂psh∂pw Ct±lØns‚ IhnXIƒ D®Øn¬ hnfn®p ]d™psIm≠ncn°p∂p. Xpc∂v Xpc∂v aÆns‚ kz¿§obXIfntebv°v IS∂psN√p∂ a\pjytcbpw AhcpsS ]pØ≥ ImgvN∏mSpItfbpw ]eam\ßfn¬ ]¶pshbv°p∂ kaImenIXbpsS tcJmNn{XamWv sk_mÃys‚ ]e IhnXIfpw. hnev]\, kao]Zriyw, hr£ta B¬_w, \mSp\o°w, DÆndpXp ImWp∂ `qan, BcWyIw, F∂n´v, ssPhirwJe HtcSv, dnb¬ FtÃ‰v,

87 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

]gb, DΩdw, H∂pw Hm¿°mXncn°p∂Xv XpSßn \nch[n IhnXIfn¬ {]IrXnbpw ]cnÿnXnbpw t\cn´pw _nw_`mjbn¬ IqSnbpw Cu XeapdtbmSv kwhZn°p∂p. \mw \n¬°p∂ temIØnse NhnńSßfpw ]nSnh≈nIfpw \ncßn \oßnbpw A‰p Xqßnbpw t]mbns°mt≠bncn°p∂Xv sIm≠v \ΩpsS PohnXw A{Xta¬ Zp¿_eamsW∂v 14 "DΩdw' F∂ IhnXbneqsS Ihn Nq≠nImWn°p∂p. DΩdØv ]qacßtfm, InWtdm, \ndIpStam, I∂pImenItfm, Xmcmt´m H∂pw Xs∂ C√. BsI D≈Xv £ucw sNbvXv "{]IrXnbpw ]mcnÿnXnImht_m[hpw' ˛ hrØnbm°nb `qan am{XamsW∂p≈ Hm¿as∏SpØ¬ IqSn \SØp∂p. ImgvNh´Øp \ndbp∂ _mly{]IrXnbpsS Akzm`mhnIamb cq]am‰w Ihn thZ\tbmsS t\m°n ImWp∂p. sk_mÃys‚ IhnXIfn¬ "H∂pw Hm¿°mXncn°p∂Xv' F∂ IhnXbpw Cu {]IrXn]mTßtfmSv tN¿Øp hmbnt°≠ cN\bmWv. IpńImeØns‚ t\tcm¿aIfn¬ \n∂v D≈ XpS¿®bmWv ChnsS jn‚ Pn. s\√mbn IhnX. Hm¿aIfnse A∂pw PohnXØnse C∂pw Ihn Xncn®dnbp∂p. B Xncn®dnhmWv F√mw Hm¿°p∂Xv H∂pw Hm¿°mXncn°p∂Xnt\°mƒ {]bmkamsW∂p≈ t_m[w Ihn°v \¬Ip∂Xv. IhnXbnse Ip‰ns®SnIƒ {]XoIh¬Icn°p∂Xv A\yambns°m≠ncn°p∂ {]IrXn kmlnXyImc≥am¿°v F∂pw {]tNmZ\amWv. Hmtcm {]IrXnkv]µ\hpw \mSpw, \mń≥]pdsØ \∑Ifpw, ]®∏pw, kwkv°mchpw, kzXzt_m[hpw Hs° Xs∂bmWv. Ahs‚ B¥cnI _mly{]IrXnsb kzm[o\n°p∂p. ]t©{µnbßfneqsS tZisØ°pdn®pw kzXzt_m[sØ°pdn®pw D≈mse thZ\n°p∂ Ihn`mh\ a[yh¿§ A\p`hthZyamIp∂ {]IrXnsb am\knIambpw _u≤nIambpw kmlnXyImc≥ tIcfob PohnXØns‚ Iev]\Ifmbn amdp∂p. AXpsIm≠v Xs∂ CShgnIsf hnev°m≥ ]p\chXcn∏n°p∂p. hnhn[ ImeL´ßfn¬ hyXykvXcoXnbn¬ {]IrXn kmlnXyØn\p h®ncn°p∂ sslth \ncØpw t]‰‚ v ImØv InS°p∂ Hm´pIº\nbnse ]pI°pgepw hnjbo`hn°p∂p. ]pcmWImhyßƒ apX¬ B[p\nI Imhy`mh\bn¬ hsc {]IrXnbpsS tIcfob PohnXØns‚ {]Xn\n[m\ßfmIp∂p. Isøm∏v Z¿i\obamWv. ¢mknIv, \ntbm¢mknIv, sdmam‚nIv IrXnIfn¬ F√mw Xs∂ ]cnÿnXnbpw {]IrXnbpw IS∂phcp∂Xv bYm{Iaw a\pjyPohnXØns‚ `qhn`hßƒ IqSnb tXmXn¬ NqjWwsNbvXv `qantbbpw A¥co£tØbpw Ahn`mPyLSIßfmbpw, Ae¶mcØn\pw h¿Æ\bv°pap≈ {]XoIßfmbpw kq£vaambn aen\oIcn°pI, `qansb tIm¨{Io‰v ImSpIfm°n am‰pI F∂Xv B[p\nIPohnX A]{KYn°m\pw hnhcn°m\pap≈ D]m[nbmbn´pamWv. F∂m¬ {]IrXnsb AanXambn ssienbpsS `mKambn°gn™p. ssaXm\ßƒ \nI∂p. Ip∂pIƒ CSn®p ]cØn, NqjWwsNbvXv D]t`m‡rkaqlØnte°v am‰nb arKobamb Bk‡nIsf Ac£nXambn Xo¿∂ Cu ImeL´Øn¬ ChnsS ]®∏pw {]hmlhpw D≠mbncp∂p tNmZywsNøpIbmbncp∂p B[p\nI DØcm[p\nI Xeapd sNbvXXv. Cßs\ hnhn[ F∂v tI´m¬ Ahnizkn°Ø°coXnbn¬ PohnXw ]cnWan®p. AXn\memWv Ihn D≠m°nb cq]Øn¬ `mhØn¬ ImeØn¬ F∂pw {]IrXnbpw ]cnÿnXnbpw IhnXbv°pw t\mhen\pw B¬_Øn¬ hbepIfpw Ipfßfpw ImSpIfpw IrjnbnSßfpw C√mXncp∂Xv. B¬_w sNdpIYbv°pw hnjbßfmbn `hn®p. F∂ IhnXbn¬ ChbpsS B¬_w th≠m∂p hbv°m\p≈ ImcWw Ihn Xs∂ ]dbp∂p. {]IrXn°pw ]mcnÿnXnImht_m[ßƒ°pw CSw\¬Inb sk_mÃys‚ Nne "hbepIfpsS IpfßfpsS ImSpIfpsS IrjnbnSßfpsS IhnXIfmWv ChnsS N¿®bv°v hnt[bamIp∂Xv. {]IrXnbptSbpw ]cnÿnXnbptSbpw B¬_w ths≠∂p h®p taml\kp`Kamb ImgvNIfnte°√ sk_mÃys‚ IhnXIfpsS PmeIw Xpd°p∂Xv. In´pI {]bmkw' a™Wn™ ]q°ƒ°pw aecWn°mSpIƒ°pw ]Icw, tIm¨{Io‰v ImSpIfpw ]t£ Hgnhpt\cßfn¬ adn®pt\m°nbncp∂p ckn°m≥ Cu B¬_Øn¬ Xp∂n NhdpIq\Ifpw ]pXnb em≥UvkvtI∏pIƒ D≠m°p∂p. `qan°v F√m CeIfpw \jvSamIp∂ tN¿°s∏´ khntij GSpIfp≠v. apØß, ta∏mSn, s\√nbmºXn, sNßd Cßs\ hdpXnbpsS \mƒ hcp∂p F∂pw sXcphpaqSnb πmÃn°v {ZhØm¬ {]Wbw t]mIp∂p \o≠ \nc. IhnX hmgvhns‚ KoXßfmbn amdp∂p. ChnsS DZmko\amb temI ]mdbmIp∂psh∂pw Ct±lØns‚ IhnXIƒ D®Øn¬ hnfn®p ]d™psIm≠ncn°p∂p. ImgvNIfnte°√ adn®v h¿Øam\ImeØns‚ FcnXobn¬ sh¥pcpIp∂ ]®∏nte°mWv Xpc∂v Xpc∂v aÆns‚ kz¿§obXIfntebv°v IS∂psN√p∂ a\pjytcbpw AhcpsS Ihn`mh\ Nen°p∂Xv. ]pØ≥ ImgvN∏mSpItfbpw ]eam\ßfn¬ ]¶pshbv°p∂ kaImenIXbpsS D≈w ssIønseSp°mhp∂ Hcp Xp≠p`qanbpsS cmjv{Sobw ]e IhnXIƒ°pw tcJmNn{XamWv sk_mÃys‚ ]e IhnXIfpw. hnev]\, kao]Zriyw, hr£ta B¬_w, hf°qdp≈ aÆv Hcp°p∂p≠v. \mSp\o°w, DÆndpXp ImWp∂ `qan, BcWyIw, F∂n´v, ssPhirwJe HtcSv, dnb¬ FtÃ‰v, DÆndnXp ImWp∂ `qan F∂ IhnXbn¬

87 88 Ecoaesthetics and Literature

"slUvankv{S ns‚ taibn¬ A®pX≠nencn°p∂ `qansb I≠p A{X hepsXm∂pa√' F∂v ]pØ≥ Xeapd ]dbp∂p. hoSn\p ap∂n¬ \n∂v ImWmhp∂Xpw Ip∂n≥ apIfn¬ \n∂p t\m°mhp∂XpamWv C∂v `qan. BtKmfhXv°cWw krjvSn® Nn¥m]≤Xnbn¬ `qan Idßptºmƒ A{X hepsXm∂pa√ Cu `qan F∂mWv Ihnsamgn. ]≠v `qan hepXmbncp∂p. F{Xtbm Inf®v IÆnIqń A[zm\n®Xns‚ {]Xnêambn e`n®XmWv BUyXzØns‚ {]XoIamb sh‰nes®√w. F∂m¬ C∂v \√ `qan C√. Ip∏bmbn amdnb ]dºpIƒ. AIØpw ]pdØpw Ipanbp∂ amen\yw XqØm¬ t]mhmØ Id t]mse C°hnXIfnepw ]‰n∏nSn®ncn°p∂p. "IcXemaeIw' F∂ IhnXbpw \ap°p ap∂nep∂bn°p∂ tNmZyanXpXs∂bmWv. \mt\m sSIvt\mfPnbpsS hncpXpsIm≠v tem]n®v ]q¿∆cq]Ønem°m\mhmØ Cu sIm®p `qanbnse PohnXw Ihnsb h√msX Atemkcs∏SpØp∂p≠v. `qansb Hcp s\√n°tbmfw sNdpXm°n D≈wssIøn¬h®v kq£vaambn ]cntim[n°p∂p. `qan°v C\nbpw Hcp s]mSn∏n\v P∑taIm≥, Xfncm°m≥ Ignbp∂ D¿∆cXbpt≠m F∂v Ihn Xo¿®bmbpw kwibn°p∂p. "Ip∂pIƒ Np´p]gpØv temlw t]mse Ccpfpw ]®bp Ipd™v ImSns‚ ASbmfßƒ AhnShnsS ]≠v ]pg ]m™ ]mSpIƒ' ImSpw Infns®m√pIfpw \ne®p. \ncm¿{Zamb ]®∏n¬ \n∂pw DbnscSpØ BtKmfXm]\w, Imemhÿ hyXnbm\ßƒ, \mń≥]pdßfpw \Kchpw hnIk\w F∂v AeapdbnSptºmƒ ]q¿hcq]Ønte°v Xncn®p sIm≠phcm≥ km[n°mØ `qansb t\m°n hne]n°pIbmWv Ihn. {]IrXnsb a\pjy\n¬\n∂v hnt—Zn°p∂ GsXmcp imkv{XimJtbmSpap≈ hntbmPn∏v ChnsS {]ISamIp∂p. {]IrXntbmSnWßn AXns\ kvt\ln®v ]cn]men®v AXns‚ `mKambn Ign™ncp∂ a\pjy≥ C∂v {]IrXnhn`hßƒ apgph≥ Xs‚ D]t`mKßƒ°pw kpJkuIcyßƒ°pw th≠n am{XamsW∂ Nn¥m]≤Xnbn¬ FØnt®¿∂p. CXns‚ êambn D≠mb NqjW ]cºcIƒ°v \mw DØcw ]dtb≠hcmsW∂ DZvt_m[\amWv "]gb' F∂ IhnX. Ipfßfpw ]mSßfpw \nI∂v amfnIIƒ BIp∂Xpw Bhmkhyhÿ XInSw adbp∂Xpw P¥pPmeßƒ Nph∂ ]pkvXIØn¬ ÿm\w]nSn°p∂Xpw `mht`Zßfn√msX t\m°n\n¬°m≥ B[p\nIXeapdbv°p km[n°p∂p. kz¥w kwkv°mcØn¬ \n∂pw ]cnXÿnXnIfn¬ \n∂pw `mjbn¬ \n∂pw A\yhXv°cn°s∏´psIm≠v ]pXnbkzXzt_m[ßƒ Xncbp∂ \hkwkv°mcØns‚ Ahtijn∏pIfmbn amdp∂Xns‚ t\¿°mgvNbmWv "\mSp\o°w' F∂ IhnX. \mSp\oßp∂Xv tIchr£ßfmWv. ]Snbndßn t]mIp∂Xv Hcp kwkvIrXnbpw. tIchr£ßfpsS \mSv. Im‰n¬ ]cnekn°p∂ sXtßmeIƒ sXßn≥]p°pe F√mw

89 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

"slUvankv{S ns‚ taibn¬ \ngembn amdp∂p. \ngens‚ ]cn`hw aÆnt\mSmWv. aÆnt\mSv am{Xw. \ngen¬ \n∂v A®pX≠nencn°p∂ Hmtcm∂mbv am™p am™v \ngte C√mXmIpw. \mSv _wKmfnbpw Hdnb°mc\pw admTnbpw `qansb I≠p Itødn°gn™p. sXßn¬ Ibdm≥ D]tbmKn®ncp∂ GWnIƒ°v C\n kzÿambn A{X hepsXm∂pa√' F∂v ]pØ≥ Xeapd ]dbp∂p. hn{ian°mw. ChnsS \n∂pw \mSp\oßnb Iqºv, Xe, sXßv, HmeNÍƒ, F∂nh GWnbptSbpw ]Wn°mcptSbpw \ngepambn IqSn°ecp∂Xv as‰mcp Zn°nembn°mw F∂mWv Ihn ]dbp∂Xv. hoSn\p ap∂n¬ \n∂v ImWmhp∂Xpw Ip∂n≥ apIfn¬ \n∂p t\m°mhp∂XpamWv C∂v ]p¬s°mSn\mºpIsf t]mepw ]®®m¿ØnsIm≠v Bk∂acWbmb `qan°v `qan. BtKmfhXv°cWw krjvSn® Nn¥m]≤Xnbn¬ `qan Idßptºmƒ A{X hepsXm∂pa√ arXkRvPohn\nbmtI≠ Cu ImeL´Øn¬ \ne\nev]ns‚ {]Xn_nw_amb ]®∏ns\ \mw Cu `qan F∂mWv Ihnsamgn. ]Snbnd°n hnSp∂Xns‚ \Sp°amWv "\mSp\o°'Øn¬. ]≠v `qan hepXmbncp∂p. F{Xtbm Inf®v IÆnIqń A[zm\n®Xns‚ {]Xnêambn kt¶mNßsf F∂p apX¬°mWv hnIk\w F∂p ]dbm≥ XpSßnbXv. e`n®XmWv BUyXzØns‚ {]XoIamb sh‰nes®√w. F∂m¬ C∂v \√ `qan C√. Ip∏bmbn kwkv°mcØns‚ amen\yßsf Fßs\ kwkv°cn°mw F∂Xp Xs∂bmWv {]iv\w. amdnb ]dºpIƒ. AIØpw ]pdØpw Ipanbp∂ amen\yw XqØm¬ t]mhmØ Id t]mse ]cnÿnXncN\Isf _m[n°mdp≈ AXnsshImcnIXbn√ ]e IhnXIfnepw C°hnXIfnepw ]‰n∏nSn®ncn°p∂p. "Hcp sNdnb acw "IcXemaeIw' F∂ IhnXbpw \ap°p ap∂nep∂bn°p∂ tNmZyanXpXs∂bmWv. AXnsemcp henb h\w \mt\m sSIvt\mfPnbpsS hncpXpsIm≠v tem]n®v ]q¿∆cq]Ønem°m\mhmØ Cu sIm®p AXmsWs‚ a\w' F∂v ]mSnb Xeapdbn¬ \n∂v hyXncn‡a√ Ihna\ pw. `qanbnse PohnXw Ihnsb h√msX Atemkcs∏SpØp∂p≠v. `qansb Hcp s\√n°tbmfw sNdpXm°n D≈wssIøn¬h®v kq£vaambn ]cntim[n°p∂p. `qan°v C\nbpw Hcp s]mSn∏n\v D¿hcbmb `qansb Dujcbm°p∂ `qam^nbIƒs°Xnscbp≈ i‡amb P∑taIm≥, Xfncm°m≥ Ignbp∂ D¿∆cXbpt≠m F∂v Ihn Xo¿®bmbpw kwibn°p∂p. {]Xntj[Øns‚ kzcamWv "dnb¬ Fkvt‰‰v' F∂ IhnX. aÆv \\®v hnØnd°n aÆns\ kz¿§ambpw ]pgsb ]pgbmbpw aeIsf aeIfmbpw ImSns\ ImSmbpw kwc£n®ncp∂ "Ip∂pIƒ Np´p]gpØv temlw t]mse Dƒ°mgvNbp≈ ]pcmX\ kwkvIrXn°n∏pdØp ]pgbpw hm\hpw hsc AXn¿Øn Xncn®v Ccpfpw ]®bp Ipd™v I®hSw \SØp∂ \h kwkvIrXntbmSp≈ ISpØ ap∂dnbn∏mWv Cu IhnX. ImSns‚ ASbmfßƒ AhnShnsS ]≠v ]pg ]m™ ]mSpIƒ' hn‰pw hmßnbpw Xo¿∂p t]mb `qanbpsS ImSpw Infns®m√pIfpw \ne®p. \ncm¿{Zamb ]®∏n¬ \n∂pw DbnscSpØ BtKmfXm]\w, CS]mSpImtc Imemhÿ hyXnbm\ßƒ, \mń≥]pdßfpw \Kchpw hnIk\w F∂v AeapdbnSptºmƒ IÆp hbv°t√ ]q¿hcq]Ønte°v Xncn®p sIm≠phcm≥ km[n°mØ `qansb t\m°n hne]n°pIbmWv Cu apXens\ Ihn. {]IrXnsb a\pjy\n¬\n∂v hnt—Zn°p∂ GsXmcp imkv{XimJtbmSpap≈ hntbmPn∏v ChnsS {]ISamIp∂p. {]IrXntbmSnWßn AXns\ kvt\ln®v ]cn]men®v AXns‚ `mKambn \´p\\®v hf¿Øn D¿∆cbm°n D’mlØna¿∏ns‚ tXtctd≠ `qansb Ign™ncp∂ a\pjy≥ C∂v {]IrXnhn`hßƒ apgph≥ Xs‚ D]t`mKßƒ°pw hmWnPyhXv°cWØnt‚bpw hyhkmbhXv°cWØnt‚bpw amen\yßsf \njv°cpWw kpJkuIcyßƒ°pw th≠n am{XamsW∂ Nn¥m]≤Xnbn¬ FØnt®¿∂p. CXns‚ Pet{kmX pIfntes°mgp°n ]pgIsf sIm√p∂htcmSpw AS¿Øn am‰m≥ IgnbmØ{X êambn D≠mb NqjW ]cºcIƒ°v \mw DØcw ]dtb≠hcmsW∂ DZvt_m[\amWv ZrVambn Hń®p tN¿Ø hm\tØbpw ]pgtbbpw IÆphbv°t√ F∂mWv Ihn bmNn°p∂Xv. "]gb' F∂ IhnX. Ipfßfpw ]mSßfpw \nI∂v amfnIIƒ BIp∂Xpw Bhmkhyhÿ tIcfob kzXzt_m[sa√mw ]g¶YIfmsW∂p≈ Xncn®dnhv sk_mÃys‚ XInSw adbp∂Xpw P¥pPmeßƒ Nph∂ ]pkvXIØn¬ ÿm\w]nSn°p∂Xpw IhnXIfn¬ \ngen°p∂p≠v. ImcWw \mSp\oßnb \mńemWv Pohn°p∂Xpw hfcp∂Xpw `mht`Zßfn√msX t\m°n\n¬°m≥ B[p\nIXeapdbv°p km[n°p∂p. acn°p∂Xpw. sXm≠bn¬ Xd™ hm°n≥ sImfpØns\ ad∂p i_vZan√msX D®cn® ]e kz¥w kwkv°mcØn¬ \n∂pw ]cnXÿnXnIfn¬ \n∂pw `mjbn¬ \n∂pw `mjIfmbn amdp∂p Cu IhnXIƒ. `qXImeØns‚ kvacWbn¬ \n∂pw A\yhXv°cn°s∏´psIm≠v ]pXnbkzXzt_m[ßƒ Xncbp∂ \hkwkv°mcØns‚ h¿Øam\ImeØnse AcpXmbvaIfnte°pw C√mbvaIfnte°pw h√mbvaIfnte°pw Ahtijn∏pIfmbn amdp∂Xns‚ t\¿°mgvNbmWv "\mSp\o°w' F∂ IhnX. Ihnsb hen®nSp∂Xv HuNnXyt_m[an√msX IS∂p h∂ Ip°dns‚ NqfwhnfnbmWv. sXmSnbn¬ \n∂p Inńb Hm´sºmfn Hm¿ΩIƒ hc°ptºmƒ Iäp∂n¬ sXfnbp∂Xv \mSp\oßp∂Xv tIchr£ßfmWv. ]Snbndßn t]mIp∂Xv Hcp kwkvIrXnbpw. Ft∂m AkvXan®p HSpßnb ImeØns‚ kv]µ\ßfmWv. tIchr£ßfpsS \mSv. Im‰n¬ ]cnekn°p∂ sXtßmeIƒ sXßn≥]p°pe F√mw

89 90 Ecoaesthetics and Literature

Hcp ImSp≠mbncp∂p F∂n´v ? Hcp \mSp≠mbncp∂p F∂n´v ? tXmSpw ]pgbpw Ipfhpap≠mbncp∂p F∂n´v ? ImSpw \mSpw Ipfhpw ]pgbpw tXmSpap≠mbncp∂p A{X Xs∂. PohnXØns‚ _lpkzcXIƒ Bhnjv°cn°msa∂ncn°epw IhnXbn¬ PohnXhpw {]IrXnbp kv]µ{]Xnkv]µ\ßfmbn amdWsa∂v Ihn D≈mse B{Kln°p∂p. AXn\memWv kwthZ\ ka{KX t\Sp∂ kaqlØn\p ap∂n¬ ]®bpsS shdpw h¿W ImgvNIfmImsX hniz{]IrXnbpsS \ne®p t]mb anSn∏ns\°pdn®p≈ BIpeXIfpw DXvIWvTIfpambn Cu IhnXIƒ amdp∂Xv. am\hnIXbpsS Ddh h‰msX aÆns\ ]®bpsSbpw \∑bptSbpw am\w ]pX∏n°m\p≈ ]cn{iaßƒ Cu IhnXIfn¬ ImWmw. `qansb aen\oIcn®p sIm≠v Hcp PohnXhpw hnaeoIcn°m\mhp∂X√ F∂ kXyw t_m[]q¿∆w XnckvIrXamIp∂p. hmb\bpsS GXv ]mcmao‰¿ D]tbmKn®v kao]n°ptºmgpw sk_mÃys‚ IhnXIfpsS cq]oIcWØn¬ HcSnÿm\ ImcWambn ]cnÿnXnbpw {]IrXnbpw {]h¿Øn°p∂ps≠∂p ImWmw.

91 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

Hcp ImSp≠mbncp∂p F∂n´v ? Hcp \mSp≠mbncp∂p F∂n´v ? tXmSpw ]pgbpw Ipfhpap≠mbncp∂p F∂n´v ? 15 ImSpw \mSpw Ipfhpw ]pgbpw tXmSpap≠mbncp∂p A{X Xs∂. \K-c-h¬°cWhpw Krlm-Xp-c-Xzhpw : PohnXØns‚ _lpkzcXIƒ Bhnjv°cn°msa∂ncn°epw IhnXbn¬ PohnXhpw s]ms‰-°m-ńs‚ IY-I-fnse ]mcn-ÿn-XnImht_m[w {]IrXnbp kv]µ{]Xnkv]µ\ßfmbn amdWsa∂v Ihn D≈mse B{Kln°p∂p. AXn\memWv kwthZ\ ka{KX t\Sp∂ kaqlØn\p ap∂n¬ ]®bpsS shdpw h¿W tacn doa ImgvNIfmImsX hniz{]IrXnbpsS \ne®p t]mb anSn∏ns\°pdn®p≈ BIpeXIfpw DXvIWvTIfpambn Cu IhnXIƒ amdp∂Xv. am\hnIXbpsS Ddh h‰msX aÆns\ ]®bpsSbpw \∑bptSbpw am\w ]pX∏n°m\p≈ BapJw ]cn{iaßƒ Cu IhnXIfn¬ ImWmw. `qansb aen\oIcn®p sIm≠v Hcp PohnXhpw \jvS-amb {Kmao-Wm-\p`q-Xn-Isf Xncn-®p-]n-Sn-°m-\p≈ Xo{h-amb CO-bmbn´mWv Krlm- hnaeoIcn°m\mhp∂X√ F∂ kXyw t_m[]q¿∆w XnckvIrXamIp∂p. hmb\bpsS GXv Xp-c-Xz-w ae-bm-f-I-Y-I-fn¬ A[n-Ihpw {]Xy-£-s∏-Sm-dv. F∂m¬ Fkv.-sI.s]ms‰-°m-ńs‚ ]mcmao‰¿ D]tbmKn®v kao]n°ptºmgpw sk_mÃys‚ IhnXIfpsS cq]oIcWØn¬ IY-I-fnse Krlm-Xp-c-X°v AXn¬°-hn™ am\-ß-fp-≠v. {]Ir-Xn-bp-sSbpw a\pjys‚bpw HcSnÿm\ ImcWambn ]cnÿnXnbpw {]IrXnbpw {]h¿Øn°p∂ps≠∂p ImWmw. hn\m-i-I-c-amb am‰-ßsf Xncn-®-dn-™p-sIm≠v am\-hn-I-X-bn¬ Du∂ns°m-≠p≈ ]mcn-ÿn- Xn-Im-h-t_m[w ]pe¿Øp∂ IY-I-fpsS henb km[yX s]ms‰-°m-ńs‚ IY-I-fn-ep-s≠-∂- XmWv Cu hnj-bsØ kw_-‘n®v At±-l-Øns‚ IY-I-fpsS {]k-‡n. {]Ir-Xn-tbm-Sp≈ B`n-ap-Jyhpw \jvS-{]-Ir-Xn-bpsS Krlm-Xp-c-Xbpw {]Xy-£-Øn-e-h-X- cn-∏n-°p∂ IY-I-fn¬ XpSßn 1980˛¬ sske‚ vhmen kwc-£-W-hp-ambn _‘-s∏´v ]cn-ÿnXn kwc-£-W-Øn\p th≠n-sb-gp-Xnb "G.-Un.2050˛¬' hsc a\p-jy-˛`q{]Ir-Xn-I-fpsS Ah-ÿm- hn-]-cy-b-ßsf AS-bm-f-s∏-Sp-Øp∂ IY-I-fpsS kzc-ssh-hn[yw hni-I-e\w sNtø≠Xp-≠v. ae-bm-fIY-Ifn¬ ]mcn-kn-YnXnImh-t_m[w i‡n-s∏-Sp-∂-,]-cn-ÿnXn Hsc-gp-Øp-co-Xn-bmbn amdp-∂-,B-[p-\n-I-Xbv°p apsº s]ms‰-°m-ńs‚ IY-I-ƒ \K-c-h¬°cWsØ FXn¿Øp. Imev]-\nI Krlm-Xp-cX:a\p-jy-˛-`q-{]-Ir-Xn-Iƒ, \K-c-h¬°cWhpw \jvS-òXnbpw, ]cn-ÿn-Xn-kw-c-£Ww:{]Xn-tcm-[-hpw {]Xn-I-cWhpw F∂n-ßs\ aq∂v hnj-b-ßsf ASn-ÿm- \-am°n hyXykvX IY-Isf Ah-tem-I\w sNøp∂XmWv {]_-‘w. 1. Imev]-\nI Krlm-Xp-cX : a\p-jy-˛-`q-{]-Ir-Xn-Iƒ `qX-Ime-Øns‚ `qan-I-bnemWv s]ms‰-°m-ńs‚ Krlm-Xp-c-Xzw.-A-Xm-Is´ Imev]-\n-I-hpw.- \jvSamb {Kma-{Ir-Xn-bpsS ku-µ-cyhpw a\p-jy-{]-Ir-Xn-bpsS \∑-Ifpw Xncn®p]nSn-°m-\p≈ {ia-ß-fm-bn-cp∂p At±-l-Øns‚ IY-Iƒ. IY-sb-gp-Øn-s\-°p-dn®v tNmZn-°p-tºmƒ A¤p-X- I-c-amb ]e Imev]-\n-I-tem-I-ßfpw Imń-Ø∂ Hcp {Kma-sØbpw {Kmao-W-s\bpw At±lw kvacn-°p-∂p-≠v. ""Fs‚ Ipń-°m-ew. F\n-°∂v \me©p hb v ImWpw. -Xm-akw A—-\-Ω- am-tcmSp IqsS tImgn-t°m´p ]´-W-Øn-emWv. C-S-bvs°√mw Btdgp \mgnI Ing°v X\n \m´p-

91 92 Ecoaesthetics and Literature

ºp-dØv, A-Ωm-hs‚ hoń¬ t]mbn \me©p Znhkw ]m¿°m≥ Fs∂ Ab-°m-dp-≠m-bn- cp∂p.- hn-f™p \n¬°p∂ s\¬h-b-ep-Iƒ,- \m-ep-]m-Spw.- ap-I-fn¬ \£-{X-tIm-Sn-Iƒ shń- Øn-f-ßp∂ \oe-hm-\w. {]]©w apgp-h\pw ]c-s∂m-gp-Ip∂ \nem-hpw.-sN-dnsb-°≥ IY ]d™p Xcpw'' (Fkv.-sI.s]ms‰-°m-´v, 2013:13). _mey-Øn¬ a\- n¬ IS-∂p-IqSnb \√ a\p-jy-tcmSpw {Kma-{]-IrXntbmSpap≈ B`n-apJyhpw Ah Xncn®p ]nSn-°m-\p≈ {iahpw s]ms‰-°m-ńs‚ IY-I-fnepw Pohn-X-Ønepw ImWmw.{]Ir-Xn-ku-µ-cym-cm-[-I-\mb B k©m-cn-bpsS e£yw ]e-t∏mgpw AXm-bn-cp-∂p. ""tImgn-t°mSv \K-c-Ønse hrØnIpd-™- Hcp {]tZiØv _meyw Ign® At±-l-Øn\v {]Ir-Xn-`w-Kn-bp≈ CS-ß-tfmSv KmV-amb B`n-apJy-ap-≠m-bn-cp-∂p.- \n-Xm¥ bm{Xn-I-\m-bn-cp∂ At±-l-Øns‚ bm{Xm-e-£y-ß-fn-sem∂v {]Ir-Xn-bpsS sshhn[yw \nd™ `mh-ßƒ Bkz- Zn-°pI F∂-Xm-bn-cp-∂p. hntZ-i-bm-{X-Iƒ°v t]mb-t∏mgpw At±lw {]m[m\yw sImSp-ØXv hnI-kn-X-cm-jv{S-ß-fnse alm-\-K-c-ßƒ ImWm-\√, B-{^n-°-bn-sebpw sX°pIng-°-t\-jy- bn-sebpw \K-c-]-cn-jvImcw IS-∂p-sN∂nń√mØ {Kmam-¥-c-ß-fn¬ k©-cn-°m-\m-bn-cp-∂p.- A- hn-sS-sb√mw {]Ir-Xn-bpsS `mh-ssh-hn-[y-ßfpw ]®-bmb a\p-jy-Po-hn-X-hp-am-bn-cp∂p At±- lsØ amSn-hn-fn-®-Xv'' (sI.Fkv. -c-hn-Ip-am¿, 2013:27). -bm{X-bn-ep≠mb A\p-`-h-ß-fmWv At±- l-Øns‚ `qcn-`mKw IY-Ifpw. AXp-sIm-≠p-Xs∂ s]ms‰-°m-ńs‚ IY-I-fn¬ ImWp∂ Imev]- \n-I-{]-IrXn c≠p hn[-Øn-em-Wv:-{]-hm-k-`q-an-bnse {]-IrXn, `q-X-Im-e-kva-c-W-I-fnse {]IrXn sNs∂Øp∂ ÿe-ß-fpsS Imev]-\nI h¿Æ\Iƒ ]e IY-I-fnepw ImWmw. ]p≈n- am≥ F∂ IY-bn¬ IpS-Ins‚ h¿Æ\I-ƒ hf-sc-b-[nIw \o≠pt]m-Ip-∂p.- ""]p-jv]-k-ar-≤- amb Im´p-]-\n-\o¿s®SnIƒ- C-S-Xnßn sIń∏pW¿∂v InS-°p∂ XSm-I-Ø-Shpw Cfw]® s]mSn- ®p-h-cp∂, \n-c∂v ]c-∂,- Ip-d-s™mcp ]cn-k-chpw, ]-{X-ß-sf√mw sImgn™v ]q°ƒ am{Xw ]‰n-\n-ev°p-∂-Xpw,- Im-gvN-bn¬ ]hn-g-∏p-‰p-t]mse tXm∂p-∂-Xp-amb Hscm‰ Im´p-sNº-I-hr- £hpw IqSn-t®¿∂ {]Ir-Xn-bpsS B Nn{Xw F{X at\m-lcw!'' (hmeyw1:250) Hcp {]hm-knbpsS `q-X-Im-e-kva-c-W-I-fmbmWv {Kma{]IrXn IY-I-fn¬ ImWp-∂-Xv. -B-Zy- {]-hm-k-I-Ym-Ir-Øm-bXp sIm≠mhmw \jvS-amb {Kmam-\p-`q-Xn-Isf \K-cm-¥-co-£-Øn¬ kvacn- °p∂ IYm-]-›m-Ø-e-ßƒ At±lw krjvSn-®-Xv.- \-Kcw IY-bpsS h¿Øam\-ÿ-e-cm-in-bm-Ip- tºmgpw `qX-Ime-hn-h-c-W-Øns‚ ÿe-cm-in-bmbn {Kmaw ]et∏mgpw IY-bpsS `qan-I-bm-Ip- ∂p. "Xncp-hm-Xnc' CØ-c-Øn-ep≈ IY-bm-Wv. t_mws_ \K-c-Ønse cm{Xn-]-›m-Ø-e-Øn¬ ]q¿ÆN{µs\ ImWp∂ c≠v kplr-Øp-°ƒ \mńse Xncp-hm-Xn-c-sb-°p-dn®v Hm¿°p∂p. ""kplrtØ, \m-ńse ]c∂ ]mSßfnte°v Fs‚ Nn¥-Iƒ ]d∂p t]mIp-∂p. Cu t_mws_ F{X iq\y-am-bn-tØm-∂p∂p?...... -a-e-_m-dnse hnim-e-hn-tem-eamb s\¬h-b-ep-I-sfbpw NnX-dn-°n-S-°p∂ sNdp-Ip-∂p-I-sfbpw \qdp-I-W-°mb Bdp-I-sfbpw ad-°p-hm≥ Hcp ae-bm-fn°pw Ign-bp-I-bn-√'' (hmeyw1:598). IY-bpsS ]›m-Øew Chn-S-∂-tßm´v \mń≥]p-d-am-Wv. {]hm-kn-bmbn A\y-\m-ń¬ Ign-bp-tºm-tgm, -h¿j-ß-ƒ°ptijw XncnsI FØp-tºmtgm D≈ A\p-`hIY-Ifn¬ Krlm-Xp-c-Xzw ImWmw. "A¥-Is‚ tXmń-', "Hgn™ Iń¬', "hn[n' XpS-ßnb IY-I-sfms° CØ-c-Øn-ep-≈-Xm-Wv. Hcp {]hm-knbpsS Krlm-Xp-c-Xzw hy‡-ambpw "A¥-Is‚ tXmń-'bnep≠v. Ggv h¿j-

93 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

ºp-dØv, A-Ωm-hs‚ hoń¬ t]mbn \me©p Znhkw ]m¿°m≥ Fs∂ Ab-°m-dp-≠m-bn- ßƒ°v tijw \mń¬ Xncn-s®-Øp-tºmƒ ""F\n°v G‰hpw CjvS-s∏´ Hcpƒ\m-Sm-WXv. Fs‚ cp∂p.- hn-f™p \n¬°p∂ s\¬h-b-ep-Iƒ,- \m-ep-]m-Spw.- ap-I-fn¬ \£-{X-tIm-Sn-Iƒ shń- _mey-Im-e-kva-c-W-Iƒ B Ip∂n≥Np-‰p-]m-Sns\bpw Icn-ºm-d-°p-Øp-Iƒ \nd™ Ip‰n-°m- Øn-f-ßp∂ \oe-hm-\w. {]]©w apgp-h\pw ]c-s∂m-gp-Ip∂ \nem-hpw.-sN-dnsb-°≥ IY ]d™p Sn-s\bpw s]mXn¿∂ ]mSßsfbpw ]‰n-∏n-Sn®v InS-°p-∂p-≠v. -a-dp-\m-S≥ \K-c-Ønse shäm- Xcpw'' (Fkv.-sI.s]ms‰-°m-´v, 2013:13). _mey-Øn¬ a\- n¬ IS-∂p-IqSnb \√ a\p-jy-tcmSpw S-Øn¬, b{¥-ko¬°mcw sIm≠pw NqSv sIm≠pw Dd°whcmsX t¢in-°p-tºmƒ B {Kma- {Kma-{]-IrXntbmSpap≈ B`n-apJyhpw Ah Xncn®p ]nSn-°m-\p≈ {iahpw s]ms‰-°m-ńs‚ Ønse XWpØ h¿j-Im-e-cm-{Xn-Isf Rm≥ sImXn-°m-dp-≠v'' (hmeyw1:744) F∂v {Kma{]Ir- IY-I-fnepw Pohn-X-Ønepw ImWmw.{]Ir-Xn-ku-µ-cym-cm-[-I-\mb B k©m-cn-bpsS e£yw Xn-tbm-Sp≈ Krlm-Xp-c-X ImWmw. `q{]-IrXn am{X-a-√, -\-K-c-hm-kn-I-fn¬ ImWmØ a\p-jy- ]e-t∏mgpw AXm-bn-cp-∂p. {]-Ir-Xn-Ifpw {KmasØ BI¿j-I-am-°p-∂p. -]-gb \√ kplr-Øp-°fbpw {Kmao-Wscbpw ""tImgn-t°mSv \K-c-Ønse hrØnIpd-™- Hcp {]tZiØv _meyw Ign® At±-l-Øn\v \K-c-hm-kn-bmb IYm-\m-b-I≥ kvac-W-I-fn-epsS hos≠-Sp-°p-∂p. ""Rm≥ B \m´pw-]p-dsØ {]Ir-Xn-`w-Kn-bp≈ CS-ß-tfmSv KmV-amb B`n-apJy-ap-≠m-bn-cp-∂p.- \n-Xm¥ bm{Xn-I-\m-bn-cp∂ am{X-a-√, -A-hn-SsØ {Kmao-W-scbpw CjvS-s∏-ń-cp-∂p. -A-h¿°v ckn-IØw Ie¿∂ Hcp hy‡n- At±-l-Øns‚ bm{Xm-e-£y-ß-fn-sem∂v {]Ir-Xn-bpsS sshhn[yw \nd™ `mh-ßƒ Bkz- Xz-ap-≠v.-A-h¿ Bflm¿∞-X-bpsS Akw-kvIr-X-]-Zm¿∞-ß-f-s{X.- A-‰w-I-g-ßƒ Cd-ßn-°- Zn-°pI F∂-Xm-bn-cp-∂p. hntZ-i-bm-{X-Iƒ°v t]mb-t∏mgpw At±lw {]m[m\yw sImSp-ØXv nS∂pw s]mńb hb¬h-c-ºp-Iƒ Ih-®p-Nm-Snbpw apßnb hb¬h-c-ºp-Iƒ X∏n-Ø-S™pw \oßn- hnI-kn-X-cm-jv{S-ß-fnse alm-\-K-c-ßƒ ImWm-\√, B-{^n-°-bn-sebpw sX°pIng-°-t\-jy- s°m-≠n-cnt° B ]gb \mS≥ Nßm-Xn-I-fn¬ ]ecpw Fs‚ kvarXn]Y-Øn¬ IS-∂p-h- bn-sebpw \K-c-]-cn-jvImcw IS-∂p-sN∂nń√mØ {Kmam-¥-c-ß-fn¬ k©-cn-°m-\m-bn-cp-∂p.- A- ∂p'' (745). "Hgn™ Iń¬'-˛se th\-e-h-[n°p t]mIp∂ {Kmahpw Ahn-Ss-bp≈ Ip™-e- hn-sS-sb√mw {]Ir-Xn-bpsS `mh-ssh-hn-[y-ßfpw ]®-bmb a\p-jy-Po-hn-X-hp-am-bn-cp∂p At±- hnbpw DΩ ]mØp-Ωbpw A\yw \n∂ a\p-jy-˛-`q-{]-Ir-Xn-I-fpsS AS-bm-f-ß-fm-Wv. lsØ amSn-hn-fn-®-Xv'' (sI.Fkv. -c-hn-Ip-am¿, 2013:27). -bm{X-bn-ep≠mb A\p-`-h-ß-fmWv At±- a-t\m-l-c-amb t_mws_ \K-c-Ønse PohnXw aSpØpXpS-ßnb "hn[n' F∂ IY-bnse l-Øns‚ `qcn-`mKw IY-Ifpw. AXp-sIm-≠p-Xs∂ s]ms‰-°m-ńs‚ IY-I-fn¬ ImWp∂ Imev]- \mb-I≥ Ft∏mgpw tIc-fØnse {Kma-`w-Kn-bmWv Hm¿°p∂Xv. hc-th¬°mt\m ImØn-cn- \n-I-{]-IrXn c≠p hn[-Øn-em-Wv:-{]-hm-k-`q-an-bnse {]-IrXn, `q-X-Im-e-kva-c-W-I-fnse {]IrXn °mt\m Bcp-an√mØ Abmƒ°v tIc-f-Øn-te°v Hch[n°mebm{X hf-sc-°meambp≈ sNs∂Øp∂ ÿe-ß-fpsS Imev]-\nI h¿Æ\Iƒ ]e IY-I-fnepw ImWmw. ]p≈n- kz]v\w am{X-am-bn-cp-∂p. hn-emkw sX‰nh∂ IØns‚ DSa Fw.-F-kv.- ta-t\m\mbn Abmƒ am≥ F∂ IY-bn¬ IpS-Ins‚ h¿Æ\I-ƒ hf-sc-b-[nIw \o≠pt]m-Ip-∂p.- ""]p-jv]-k-ar-≤- tIc-f-Øn-te°v bm{X ]pd-s∏-Sp-∂Xv \jvS-ambXv kz¥-am-°m-\m-Wv˛]p-Xnb \mSpw IpSpw-_hpw, amb Im´p-]-\n-\o¿s®SnIƒ- C-S-Xnßn sIń∏pW¿∂v InS-°p∂ XSm-I-Ø-Shpw Cfw]® s]mSn- Aßs\ ]eXpw. s{Sbn≥ hmf-bm¿ IS∂v `q{]-IrXn amdp-tºmƒ sshIm-cn-I-amb hnh-cWw ®p-h-cp∂, \n-c∂v ]c-∂,- Ip-d-s™mcp ]cn-k-chpw, ]-{X-ß-sf√mw sImgn™v ]q°ƒ am{Xw Cß-s\-bm-Wv: ""Fs‚ \mSv! hnip-≤n-bpsS hnf-\n-e-Øn-te-°v...]p-Xnb {]Ir-Xn-ku-µ-cy-Øns‚ ]‰n-\n-ev°p-∂-Xpw,- Im-gvN-bn¬ ]hn-g-∏p-‰p-t]mse tXm∂p-∂-Xp-amb Hscm‰ Im´p-sNº-I-hr- hnim-e-amb hnem-k-cw-K-Øn-te°v˛k-ky-km-{µ-amb Xam-e-`q-hn-te°v kwkvIm-c-tI-Zmc-Øn- £hpw IqSn-t®¿∂ {]Ir-Xn-bpsS B Nn{Xw F{X at\m-lcw!'' (hmeyw1:250) te°v˛{]mNo-\-amb ]c-ip-cm-a-t£-{X-Øn-te-°v AtX ]nd∂ aÆn-te-°mWv Rm≥ {]th-in- °p-∂-Xv. B\µ-Øns‚ A`q-X-]q¿∆-amsbm-c-¥x-kv]-µ\w Rm\-\p-`-hn-®p'' (420). \jvS-amb Hcp {]hm-knbpsS `q-X-Im-e-kva-c-W-I-fmbmWv {Kma{]IrXn IY-I-fn¬ ImWp-∂-Xv. -B-Zy- _mey-{]-Ir-Xn-bpsS \∑-I-fn-te°p≈ aS°w \Zo-Xo-cØv F∂ IY-bn¬ ImWmw. at\m- {]-hm-k-I-Ym-Ir-Øm-bXp sIm≠mhmw \jvS-amb {Kmam-\p-`q-Xn-Isf \K-cm-¥-co-£-Øn¬ kvacn- l-c-amb \mń≥]p-dhpw Xpºnsb ]nSn-°m≥ \Zo-Xo-cØv FØp∂ Ipńsb k¿∏w °p∂ IYm-]-›m-Ø-e-ßƒ At±lw krjvSn-®-Xv.- \-Kcw IY-bpsS h¿Øam\-ÿ-e-cm-in-bm-Ip- B™psImØm-\mbn \n¬°p∂ DtZz-K-ap-lq¿Øhpsa√mw _mey-Øns‚ Krlm-Xp-c-X-bn- tºmgpw `qX-Ime-hn-h-c-W-Øns‚ ÿe-cm-in-bmbn {Kmaw ]et∏mgpw IY-bpsS `qan-I-bm-Ip- te°p≈ k©m-c-amWv km[y-am-°p-I. ∂p. "Xncp-hm-Xnc' CØ-c-Øn-ep≈ IY-bm-Wv. t_mws_ \K-c-Ønse cm{Xn-]-›m-Ø-e-Øn¬ ]q¿ÆN{µs\ ImWp∂ c≠v kplr-Øp-°ƒ \mńse Xncp-hm-Xn-c-sb-°p-dn®v 2. \K-c-h¬°cWhpw \jvSòXnbpw Hm¿°p∂p. ""kplrtØ, \m-ńse ]c∂ ]mSßfnte°v Fs‚ Nn¥-Iƒ ]d∂p t]mIp-∂p. Cu 1931˛se Zo]w amkn-I-bn¬ A®-Sn®p h∂ lnµp-˛-ap…ow ssa{Xn F∂ BZy-IY apX¬ t_mws_ F{X iq\y-am-bn-tØm-∂p∂p?...... -a-e-_m-dnse hnim-e-hn-tem-eamb s\¬h-b-ep-I-sfbpw 1980 amXr`qan BgvN-∏-Xn-∏nse F.-Un.2050˛¬ F∂ Ah-km\ IY hsc {Kmaw \K-c-ambn NnX-dn-°n-S-°p∂ sNdp-Ip-∂p-I-sfbpw \qdp-I-W-°mb Bdp-I-sfbpw ad-°p-hm≥ Hcp ae-bm-fn°pw amdp-∂-Xns‚ ]cn-Wm-a-L-´-ßƒ ImWmw. -{Km-ao-WX \jvS-am-Ip-∂p-sh∂ òXnbn¬ XpSßn Ign-bp-I-bn-√'' (hmeyw1:598). IY-bpsS ]›m-Øew Chn-S-∂-tßm´v \mń≥]p-d-am-Wv. \K-c-h¬°cWtØmSpw b{¥-h¬°cWtØmSpap≈ hntbm-Pn∏v i‡-ambn hcp-∂Xpw Ah- {]hm-kn-bmbn A\y-\m-ń¬ Ign-bp-tºm-tgm, -h¿j-ß-ƒ°ptijw XncnsI FØp-tºmtgm km\w ]cn-ÿn-Xn-kw-c-£-W-sØ-°p-dn®v {]I-S-ambn IY-I-sf-gp-Xp-∂Xpw s]ms‰-°m-ńs‚ ]cn- D≈ A\p-`hIY-Ifn¬ Krlm-Xp-c-Xzw ImWmw. "A¥-Is‚ tXmń-', "Hgn™ ÿn-Xn-kvt\-l-sØ-bmWv shfn-hm-°p-∂Xv. Iń¬', "hn[n' XpS-ßnb IY-I-sfms° CØ-c-Øn-ep-≈-Xm-Wv. 1939˛¬ "BXntYb≥' F∂ IY-sb-gp-Xp-tºmƒ {Kma-Øn\p kw`-hn®psIm≠ncn°p∂ Hcp {]hm-knbpsS Krlm-Xp-c-Xzw hy‡-ambpw "A¥-Is‚ tXmń-'bnep≠v. Ggv h¿j- am‰-ßsf a\-kn-em-°m≥ Ign-bmsX \mK-cnI-X-bpsS AS-bm-f-ßƒ°n-S-bnepw {]Ir-Xn-ku-µ-

93 94 Ecoaesthetics and Literature cym-cm-[-I-\mbn IYm-\m-b-I≥ \n¬°p∂Xv ImWmw. ""B ]mSØn\pw ]cn-k-c-ßƒ°pw Fs¥mcp ]cn-h¿Ø\amWv h∂n-cn-°p-∂-Xv.- ]-≠sØ B s]cp-h-b-ens‚ hen-sbmcp `mKw ]d-ºmbpw hncn-∏mbpw Db¿∂p-s]m-ßnbn-´p-≠v.. Fs¥mcp {]IrXn kuµcyw! C¥y-bnse ]e \K-c-ßfpw {Kma-ßfpw Rm≥ kµ¿in®n´p≠v.- F-∂m¬ ae-_m-dnse Hcp Ip{Km-a-sØ- t∏mse at\m-l-c-amb Hcp cwKw Rm≥ I≠n-ń-√'' (2013:204). {Kma-]-cn-jvIm-c-ßfpw b{¥-h¬°cWßfpw HmW°-s\∂ BZn-hm-kn-bpsS Pohn-XsØ _m[n-°p-∂-sXßs\sb∂v Xo{h-ambn Bhn-jvI-cn-°p∂ IY-bmWv 1957˛¬ {]kn≤oIcn® "sabn¬ dÆ¿'. Ccp-]Xv sIm√-tØmfw hSt° hb-\m-ń¬ IpØ-\q¿ {KmaØnse sabn¬ dÆ-dmbn tPmen sNbvX HmW°\v AXv D]-Po-h\w am{X-am-bn-cp-∂n-√,- Po-hn-X-am-bn-cp-∂p.- B\-i-ey-ap≈ Imń-eqsS Znh-khpw cmhn-sebpw sshIo´pw sabn¬ _mKpw Xq°n Abmƒ HmSn.-s]-´-s∂mcp Znhkw Ahs‚ tPmen Gs‰-Sp-°m≥ sabn¬h≠n h∂-tXmsS Ahs‚ PohnXw kvXw`n-®p. ""]pXnb {Kma-]-cn-jvI-cW]≤Xn-Iƒ \S-∏n-emb Iq´-Øn¬ hSt° hb- \m-ńse IpØ-\q¿ {Kma-Ønse {_m©v t]mtÃm-ôkv Hcp k_v t]mtÃm-ôkv Bbn- Øo¿∂p. MAIL Fs∂-gp-Xnb Hcp Nph∂ t_m¿Uv s\‰n-bn¬ ]Xn® Hcp _kv B {Kma-aq-e- bn-te-°n-g™p h∂p.-]-Xnhp t]mse A∂pw cmhnse X]m¬_mKv sIm≠p-t]m-Im≥ lmP- cmb sabn¬dÆ¿ HmW°-s\ t\m°n t]mÃvam-Ã¿ ssccp-°p-dp∏v ]d™p: \ns∂ k¿∆o- kn¬ \n∂pw ]ncn-®n-cn-°p-∂p'' (hmeyw 2:360). AX-hs‚ \ne-\n-ev]n-√m-Xm-°n.- Xm-en-sIńb h[p-hmbn sabn¬_m-Kns\ I≠n-cp∂ Ah\v B tPmen-bp-am-bp≈ Bfl-_‘w sNdp-Xm-bn- cp-∂n-√.- ]-cn-k-c-t_m[w \jvS-s∏´ HmW°≥ sabn¬h≠n Xń-Øs∂ acn-°p-∂p. b{¥-h- ev°-cWw a\p-jy-cpƒs∏-s-Sbp≈ ssPh-hy-h-ÿ-bpsS \ne-\n¬∏ns\Øs∂ _m[n-°p∂p F∂v IYm-IrØv Hm¿Ωn∏n-°p-∂p. 1962-˛¬ Fgp-Xnb "Ggn-ew-]me' {]Xy-£-Øn¬ ]cn-ÿn-Xn-hn-cp-≤-sa∂p tXm∂pw.- CXnse IYm-]m-{X-ßƒ hnI-k-\-t{]-an-I-fmb Hcp Iq´w a\p-jycmWv. Ahsc Ime-L-´-Øns‚ {]Xn- \n-[m-\-ß-fmbn ImWmw. Ip-∂ns‚ ISbpw hb-ens‚ Hcp `mKhpw taSns‚ aqebpw \nIØns°m≠v tdmUv \n¿Ωn°m≥ B°w Iq´p∂ aq∂v t]cmWv IY-bnse IYm-]m-{X- ßƒ... ]©m-b-Øns‚ ]ptcm-KXn am{Xw e£yam°p∂ ]-©m-bØv Bô-k¿ ]fl-\m-`≥ \ºym¿, ]ptcm-K-a-\-°mc\mb hey-Ωm-h≥,- a-cp-a-I≥ A∏p-°p-´≥.- aq-hcpw Htc ]£- °m¿.Ip∂pw hbepw taSpw \nIØn \mSns‚ hnI-k\w ap∂n¬ ImWp-∂-h¿. \K-c- h¬°cWtØmSp≈ P\-kaqlØns‚ B`n-apJyw shfn-hm-°p∂ IY-sb∂v CXns\ hne- bn-cp-Ømw.-{]-W-bn\n Xqßn-a-cn® Ggn-ew-]me apdn-°m≥ BZyw hnk-Ω-Xn® AΩm-h≥ AXn- \-\p-hmZw sImSp-Øp≈ IsØ-gp-Xn-h®v Poh≥ shSn-bp-∂p. {Kmaw \K-c-am-Ip-tºmƒ ]gb Xe-ap-d-°p≠mIp∂ kwL¿j-sa-s¥∂v IY shfn-s∏-Sp-Øp-∂p. ]n∂o-Ss-gpXnb "k¿∏-s°´v' ]mc-º-cy-hn-izm-k-ß-fn¬ ]nW™pInS-°p-∂p. Imhnse ac-ß-sf√mw shń, k¿∏ßsf X√n-s°m∂ A\-¥-°p-dp-∏ns\ k¿∏-s°´p _m[n-°p-∂Xpw ac-W-s∏Sp-∂-Xp-amWv IY.- Imhv \in-∏n-°-cp-sX∂ ]cn-ÿn-Xn-tbm-Sn-W-ßp∂ Nn¥ ]mc-º-cy- hn-izm-k-ß-tfmSv _‘-s∏-Sp-Øn-bm-sW¶nepw Ah-X-cn-∏n-®n-cn-°p-∂p.

95 ètude - A Multidisciplinary Research Journal Ecoaesthetics and Literature 3. ]cn-ÿn-Xn-kw-c-£Ww: {]Xn-tcm-[-hpw {]Xn-I-cWhpw cym-cm-[-I-\mbn IYm-\m-b-I≥ \n¬°p∂Xv ImWmw. ""B ]mSØn\pw ]cn-k-c-ßƒ°pw Fs¥mcp ]cn-h¿Ø\amWv h∂n-cn-°p-∂-Xv.- ]-≠sØ B s]cp-h-b-ens‚ hen-sbmcp `mKw a\p-jy≥ {]Ir-Xn-bpsS Hcp `mKw am{X-am-sW∂ ktµiw D≈-S-ßnb IY-Iƒ s]ms‰- ]d-ºmbpw hncn-∏mbpw Db¿∂p-s]m-ßnbn-´p-≠v.. Fs¥mcp {]IrXn kuµcyw! C¥y-bnse °m-´v cNn-®n-´p-≠v.IY-bpsS ]›m-Øew {Kma-Øn\p ]Icw ImSmIp-∂Xpw IYm-\m-b-I≥ Im´p- ]e \K-c-ßfpw {Kma-ßfpw Rm≥ kµ¿in®n´p≠v.- F-∂m¬ ae-_m-dnse Hcp Ip{Km-a-sØ- ar-K-am-Ip-∂Xpw At±-l-Øns‚ {]Ir-Xn-t_m[w i‡n-s∏-Sp∂ kµ¿`-Øn-em-Wv.-h-\-\-io-I-c- t∏mse at\m-l-c-amb Hcp cwKw Rm≥ I≠n-ń-√'' (2013:204). W-Øn\pw \mbm-ń-\p-sa-Xnscbp≈ {]Xn-tcm-[-ambn IY-Iƒ amdp∂p. a\p-jys‚ CS-s]-S¬ Pohn-h¿KsØ \mam-h-ti-j-am-°p-sa∂ Pm{K-Xm ktµ-ihpw At±-l-Øns‚ IY-I-fn-ep-≠v. {Kma-]-cn-jvIm-c-ßfpw b{¥-h¬°cWßfpw HmW°-s\∂ BZn-hm-kn-bpsS Pohn-XsØ "Ipe-t{Zm-ln',- "in-°m-cn', "-F.-Un.2050˛¬' F∂o IY-Iƒ Fkv.-sI. s]ms‰-°m-ńs\ ]cn-ÿn- _m[n-°p-∂-sXßs\sb∂v Xo{h-ambn Bhn-jvI-cn-°p∂ IY-bmWv 1957˛¬ {]kn≤oIcn® Xn-kw-c-£-I-\mbn Ahtcm-[n-°m≥ ]cym-]vX-amWv. "sabn¬ dÆ¿'. Ccp-]Xv sIm√-tØmfw hSt° hb-\m-ń¬ IpØ-\q¿ {KmaØnse sabn¬ dÆ-dmbn tPmen sNbvX HmW°\v AXv D]-Po-h\w am{X-am-bn-cp-∂n-√,- Po-hn-X-am-bn-cp-∂p.- 1953˛¬ B{^n-°-bnse tImwtKm ae-bpsS ]›m-Ø-e-Øn¬ Nm¿°≥ F∂ sKmdn-√- B\-i-ey-ap≈ Imń-eqsS Znh-khpw cmhn-sebpw sshIo´pw sabn¬ _mKpw Xq°n Abmƒ °p-c-ßns\ tI{µoI-cn®v Fg-p-Xnb IY-bmWv Ipe-t{Zm-ln.Ip™p-ßfpw `mcy-am-cp-ambn henb HmSn.-s]-´-s∂mcp Znhkw Ahs‚ tPmen Gs‰-Sp-°m≥ sabn¬h≠n h∂-tXmsS Ahs‚ ac-Øns‚ apI-fn¬ Ign-bp∂ Nm¿°\v Np‰p-ap≈ ac-ß-sf√mw shń InS-ßp-≠m-°n,-tXm-°p- PohnXw kvXw`n-®p. ""]pXnb {Kma-]-cn-jvI-cW]≤Xn-Iƒ \S-∏n-emb Iq´-Øn¬ hSt° hb- I-fp-ambn ]m™-SpØ Im∏n-cn-I-tfmSpw ]n‹n-I-tfmSpw FXn-cn-Sm≥ Ign-™n-√.-ap-Xn¿∂ sKmdn- \m-ńse IpØ-\q¿ {Kma-Ønse {_m©v t]mtÃm-ôkv Hcp k_v t]mtÃm-ôkv Bbn- √Isf-b√mw sIms∂m-Sp-°nb tijw CW-ßp∂ Ip™ns\ henb XpI°v hnev°m\mbn Øo¿∂p. MAIL Fs∂-gp-Xnb Hcp Nph∂ t_m¿Uv s\‰n-bn¬ ]Xn® Hcp _kv B {Kma-aq-e- ssIh-i-s∏-Sp-Øn.B cm{Xn CXn-s\√mw t\XrXzw sImSpØ PmIvks\ ImWm≥ Hcmƒ bn-te-°n-g™p h∂p.-]-Xnhp t]mse A∂pw cmhnse X]m¬_mKv sIm≠p-t]m-Im≥ lmP- hcp-∂p.-A-bm-fpsS tNmZy-ßƒ a\p-jy-hw-i-tØmSv apgp-h\p-am-bn-cp-∂p. cmb sabn¬dÆ¿ HmW°-s\ t\m°n t]mÃvam-Ã¿ ssccp-°p-dp∏v ]d™p: \ns∂ k¿∆o- ""AtX.- Rm-s\mcp X\n Im´p-a-\p-jy-\m-Wv.- A-Xn¬ Rm\-`n-am\w sIm≈p-Ibpw sNøp∂p.- kn¬ \n∂pw ]ncn-®n-cn-°p-∂p'' (hmeyw 2:360). AX-hs‚ \ne-\n-ev]n-√m-Xm-°n.- Xm-en-sIńb Pm-Ivk≥, \obpw Hcp ImeØv Im´p-a-\p-jy-\m-bn-cp-∂p.-F-{Xtbm Bbncw kwh-’-c-ßƒ°p- h[p-hmbn sabn¬_m-Kns\ I≠n-cp∂ Ah\v B tPmen-bp-am-bp≈ Bfl-_‘w sNdp-Xm-bn- a-∏p-d-am-W-Xv.-Hcp Znhkw \n\-s°mcp ]pXpa ImWn-°m≥ km[n-®p. \o H∂p Nncn-®p.- F{X cp-∂n-√.- ]-cn-k-c-t_m[w \jvS-s∏´ HmW°≥ sabn¬h≠n Xń-Øs∂ acn-°p-∂p. b{¥-h- Xs∂ {ian-®n´pw Rßƒ°Xv A\p-I-cn-°m≥ km[n-®n-√.- Nn-cn-°p∂ hnZy kzmb-Ø-am-b- ev°-cWw a\p-jy-cpƒs∏-s-Sbp≈ ssPh-hy-h-ÿ-bpsS \ne-\n¬∏ns\Øs∂ _m[n-°p∂p tXmSpIqSn \o Rßsf ]ncn™v h\-ßƒ°-∏p-d-Øp≈ A⁄m-X-hn-im-e-X-bn-te°v HmSnt∏m- F∂v IYm-IrØv Hm¿Ωn∏n-°p-∂p. hp-Ibpw sNbvXp. ]n∂oSv \n\°pw \ns‚ Pohn-X-co-Xn°pw h∂ ]cn-h¿Ø\ßsf-∏‰n Ad- 1962-˛¬ Fgp-Xnb "Ggn-ew-]me' {]Xy-£-Øn¬ ]cn-ÿn-Xn-hn-cp-≤-sa∂p tXm∂pw.- CXnse t∏mSpw \mWtØmSpw IqSn-b-√msX Rßƒ°v Nn¥n-°m≥ Ign-bp-∂n-√.-\m-dp∂ amwkhpw IYm-]m-{X-ßƒ hnI-k-\-t{]-an-I-fmb Hcp Iq´w a\p-jycmWv. Ahsc Ime-L-´-Øns‚ {]Xn- ]pfn-°p∂ aZyhpw \o Blm-c-ambn kzoI-cn-®p.- B-bp-[-ß-fp-≠m°n At\ym\yw D]-{Z-hn-°p- \n-[m-\-ß-fmbn ImWmw. Ip-∂ns‚ ISbpw hb-ens‚ Hcp `mKhpw taSns‚ aqebpw ∂Xpw kwl-cn-°p-∂Xpw Hcp hnt\m-Z-am-°n-Øo¿Øp. F-∂m¬ B ]gb IpSpw-_-°m-cmb \nIØns°m≠v tdmUv \n¿Ωn°m≥ B°w Iq´p∂ aq∂v t]cmWv IY-bnse IYm-]m-{X- Rß-tfm,-A-∂sØ ań¬Øs∂ C∂pw Pohn-°p-∂p..- F-∂m¬ \nß-fnXm Chn-sSbpw IS-∂p- ßƒ... ]©m-b-Øns‚ ]ptcm-KXn am{Xw e£yam°p∂ ]-©m-bØv Bô-k¿ ]fl-\m-`≥ h-∂p -R-ßsf sIms∂m-Sp-°m≥ XpS-ßp-∂p.- Ip-e-t{Zm-ln. Rm\m-cm-sW∂v a\knemtbm \n\- \ºym¿, ]ptcm-K-a-\-°mc\mb hey-Ωm-h≥,- a-cp-a-I≥ A∏p-°p-´≥.- aq-hcpw Htc ]£- °v..?'' (hmeyw 2:264). AXv Nm¿°-\m-bn-cp-∂p.- Pm-Ivks‚ shSn-bn¬ tijn-®n-cp∂ Ip™pw °m¿.Ip∂pw hbepw taSpw \nIØn \mSns‚ hnI-k\w ap∂n¬ ImWp-∂-h¿. \K-c- ]nS™pNØp. a\p-jys‚ BZn-tK-l-amb ImSns‚ h\y-X-bn-te-°p≈ aS°amWv Chn-sS. h¬°cWtØmSp≈ P\-kaqlØns‚ B`n-apJyw shfn-hm-°p∂ IY-sb∂v CXns\ hne- B\s°mºp-th-´-°mbn FØp∂ in°mcn a\ v amdn arK-kw-c-£-I-\m-bn-Øo-cp∂ IY- bn-cp-Ømw.-{]-W-bn\n Xqßn-a-cn® Ggn-ew-]me apdn-°m≥ BZyw hnk-Ω-Xn® AΩm-h≥ AXn- bmWv B{^n-°≥ ]›mØ-e-Øn¬ Xs∂ 1961˛¬ ]pdØn-d-ßnb "in°m-cn'-. 350 ]hs‚ \-\p-hmZw sImSp-Øp≈ IsØ-gp-Xn-h®v Poh≥ shSn-bp-∂p. {Kmaw \K-c-am-Ip-tºmƒ ]gb B\-s°mºp am{Xw a\- n¬ I≠v B\-th-´-°mbn Cd-ßn-Øn-cn® _pjv {]Ir-Xn-kvt\-ln- Xe-ap-d-°p≠mIp∂ kwL¿j-sa-s¥∂v IY shfn-s∏-Sp-Øp-∂p. bmbn amdp-∂Xv Hcp \nanjw sIm≠m-Wv. ""-F-\n°v hø.- C-√.- Rm≥ AXns\ \in-∏n-°p-I-bn- ]n∂o-Ss-gpXnb "k¿∏-s°´v' ]mc-º-cy-hn-izm-k-ß-fn¬ ]nW™pInS-°p-∂p. Imhnse √.- kr-jvSn-bn¬ C{X Kwò-c-kp-µ-c-am-sbm-sc-gp-∂-≈Øv˛A-gIpw i‡nbpw HØp-tN¿∂ ac-ß-sf√mw shń, k¿∏ßsf X√n-s°m∂ A\-¥-°p-dp-∏ns\ k¿∏-s°´p _m[n-°p-∂Xpw AeuInI-am-sbmcp \rØw-˛-C-Xn\p ap≥]v Rm≥ I≠n-ń-√. Hco-ø-°-S-sIm≠v CXns\ CSn®p ac-W-s∏Sp-∂-Xp-amWv IY.- Imhv \in-∏n-°-cp-sX∂ ]cn-ÿn-Xn-tbm-Sn-W-ßp∂ Nn¥ ]mc-º-cy- XI¿°m≥ F\n°v a\ v hcp-∂n-√.'' (461) hn-izm-k-ß-tfmSv _‘-s∏-Sp-Øn-bm-sW¶nepw Ah-X-cn-∏n-®n-cn-°p-∂p. 1980˛¬ sske‚ v hmen kwc-£-W-hp-ambn _‘-s∏´v ]cn-ÿnXn kwc-£-W-Øn\p th≠n- sb-gp-Xnb IY-bmWv "G.-Un.2050˛¬'. Pe-kw-`-cWn h∂v h¿j-ßƒ°v tijw ImSp-W-ßn,-

96 95 Ecoaesthetics and Literature a-gbpw ac-ß-fp-an√mXmbn Pohn-h¿§w \in-°p-∂Xv G.-Un. 2050˛¬ k¿∆-Iem-im-e-bpsS ]›m- Ø-e-Øn¬ Ah-X-cn-∏n-°p-∂p.- Ip-ń-Iƒ ag-°mSpw Ã^v sNbvXp-h® Ah-km-\-Po-hn-bmb in¶- f-°p-c-ßn-s\bpw ayqkn-b-Øn¬ ImWp-∂p. -ag-°m-Sp-Iƒ C√m-Xm-b-Xns‚ IY s{]m^-k¿ hnh-cn-°p-∂p.- C∂v \nßƒ°v ag-°m-Sp-I-sf-∏‰n ]Tn-°m≥ B ]S-Øns‚ klmbw th≠n-h- ∂n-cn-°p-∂p.- F-∂m¬ ]d-™m¬ \nß-ƒ hniz-kn-°p-tam,- F-gp-]Xp sIm√w ap≥]v \Ωƒ Ct∏mƒ \n¬°p∂ Cu ÿew at\m-l-c-am-sbmcp ag-°mSm-bn-cp∂p (720). sske‚ vhmensb {io-am-en- F∂ t]cn¬ IY-bn¬ Ah-X-cn-∏n-®n-cn°p∂p.- ""h¿j-e-£-ß-fpsS Im‰pw ag-bp-ta‰v ab-ßn-°n-S-°p∂ Hcp alm-h-\-am-bn-cp∂p, {io-amen. D®nbn¬ inJ-c-ßƒ hnS¿Øn ImSn∂v IpS ]nSn®v \n¬°p∂ Iq‰≥ ac-ßƒ... -kZm Cu¿∏hpw Ccpfpw Huj[-s®-Sn-I-fpsS D—zm-k- K-‘hpw Hń-∏n-Sn® A¥-co-£w... -{]-IrXn Fb¿°-≠o-j≥ sNbvsXm-cp-°nb B h\m-¥¿`m- KØv ]e A]q¿∆P¥p°fpw ]pe¿∂n-cp-∂p. in¶-f-°p-c-ßp-Iƒ,- h-c-bm-Sp-Iƒ,- hn-Nn-{Xk¿∏- ßƒ,- cm-£-k-Ku-fn-Iƒ apX-em-b-h.- F-∂m¬ h\-im-¥nsb cm{Xnbn¬ km[m-cW iey-s∏-Sp- Øm-dp≈ Noho-Sp-Iƒ F¥p-sImt≠m AhnsS IpSn-sIm-≠n-cp-∂n-√.- A-Xn-\m¬ B h\w \nXyhpw au\-{]m¿∞\bn-em-bn-cp-∂p''(721). h-\-Ønse am{Zn \Zn°p IpdpsI AW-°´p sI´p∂Xpw XpS¿∂v hcp∂ ]-cn-ÿn-Xn-\m- ißfpw IYm-IrØv Zo¿L-ho-£-W-tØmsS Ah-X-cn-∏n-®n-cn-°p-∂p. ""am{Zn \Zn°v HcW sIń, H-cp-{K≥ Pe-ssh-Zyp-X-]-≤-Xn°v Kh¨sa‚ v πm≥ Xøm-dm-°n. -A-ßs\ Pe-ssh-Zyp-X-]-≤- XnbpsS t]cn¬ Kh¨sa‚ v {ioam-en-h-\-Øn\v h[-in£ hn[n-®p.'' CXn-s\-Xnsc i_vZ- apb¿Øm≥ Fgp-Øp-Imtcm {]IrXnt{]an-Itfm D≠m-bn-cp-∂nt√ F∂v tNmZn-°p-tºmƒ AØcw {]Xn-I-c-Wßsf√mw ]Ww am{Xw e£yw h® DtZym-K-ÿcpw P\-{]-Xn-\n-[n-Ifpw ASn-®-a¿Ønb-Xmbn s{]m^-k¿ ]d-bp-∂p. Ioi ho¿∏n-°p∂ Imcy-am-sW¶n¬ `c-W-I-£n- sbt∂m {]Xn-]-£-sat∂m t`Zw I≠n-cp-∂n-√.{]Ir-Xn-`wKn hn‰v Imim-°m≥ IgnbpI-bn-√- t√m-˛-AXv I≈-°-S-Øn\pw sIm≈p-I-bn-√.-A-Xn-\m¬ imkv{X-⁄-∑m-cp-sSbpw Ihn-I-fp-sSbpw kuµ-cym-cm-[-I-cp-sSbpw {]Xn-tj-[-ß-sf adn-I-S∂v tI{µ`-c-W-sØbpw Iui-e-tØm-sS H∂p ab°n hnZyp-—-‡n-b-⁄-Øns‚ t]cn¬ Kh¨sa‚ v {ioam-en-h-\-sØ _en sImSp-Øp. a\p- jys‚ IS-∂m-{I-aWw sIm≠v ImSpw h\y-Po-hn-Ifpw ]Sn-]-Sn-bmbn \in-°p∂ ImgvN-bmWv XpS¿∂v. -{io-am-en-bnse Ah-km-\-Po-hn-bmb in¶-f-°p-c-ßns‚ acWw hnh-cn-®p-sIm-≠mWv IY Xocp-∂Xv: ""Ahs‚ A¥yw Fß-s\-bm-bn-cp-∂p-sht∂m? in¶-f-hm-\-c-h¿KØnse AwK- ß-sf√mw NØv, A-h≥ am{Xw Fß-s\tbm _m°n-bm-bn.- Hcp Znhkw Ah≥ aptºm´p NmSm≥ acw In´msX, H-Sp-hn¬ apºn¬ I≠ ]pXnb ac-Øn-te°v Hcp Nm´w NmSn. Hcp Ce-Iv{SnIv kvXw`-Øn-te°v! ssl sS≥j≥ Iºn-bn-emWv Ah≥ ]nSn®v XqßnbXv. c≠p-aq∂v {]mhiyw ]nS™v ImWpw. ]ns∂ sshZypXn Ahs‚ IY Ign-®p'' (723). {]Ir-Xn°v A\p-Iq-e-ambn \n∂v `mhn-bn¬ kw`-hn-t®-°m-hp∂ Zpc-¥-ßsf Hm¿Ωn∏n-®p-sIm≠v s]ms‰-°m-ńs‚ ]mcn- ÿn-Xn-Im-h-t_m[w aq∂mw L´-Øn¬ Xo{h-am-Ip-∂-Xv ChnsS ImWmw. D]-kw-lmcw {]Ir-Xn-tbm-Sp≈ ip≤-amb {]W-b-Øn¬ XpSßn \K-c-Øn-te-°p≈ {Kma-Øns‚ ]cn- Wm-a-Øn\v km£n-bmbn \n∂v, \jvS{]Ir-Xn-s°-Xnsc {]Xn-tcm-[-ap-b¿Øn, Bk-∂-amb {]- Ir-Xn-\m-iØns‚ Pm{K-Xm-k-tµiw \¬Ins°m≠v Hcp-h-iØv {Kma-{]IrXnbpsSbpw adp-h-

97 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal a-gbpw ac-ß-fp-an√mXmbn Pohn-h¿§w \in-°p-∂Xv G.-Un. 2050˛¬ k¿∆-Iem-im-e-bpsS ]›m- iØv \jvS-amb \∑-Ifp≈ a\p-jy{]Ir-XnbpsSbpw A\p-`q-XnIsf Xnc-bp∂ IY-I-fmWv Ø-e-Øn¬ Ah-X-cn-∏n-°p-∂p.- Ip-ń-Iƒ ag-°mSpw Ã^v sNbvXp-h® Ah-km-\-Po-hn-bmb in¶- s]ms‰-°m-ńs‚ ]mcn-kn-YnXnImh-t_m[sØ shfn-s∏-Sp-Øp-∂-Xv. f-°p-c-ßn-s\bpw ayqkn-b-Øn¬ ImWp-∂p. -ag-°m-Sp-Iƒ C√m-Xm-b-Xns‚ IY s{]m^-k¿ IY-I-fpsS hni-I-e-\-ØneqsS Is≠-Ønb s]ms‰-°m-ńs‚ hyXykvX ]mcn-kn-YnXnImh- hnh-cn-°p-∂p.- C∂v \nßƒ°v ag-°m-Sp-I-sf-∏‰n ]Tn-°m≥ B ]S-Øns‚ klmbw th≠n-h- t_m[am\-ßsf Cßs\ t{ImUo-I-cn°mw: ∂n-cn-°p-∂p.- F-∂m¬ ]d-™m¬ \nß-ƒ hniz-kn-°p-tam,- F-gp-]Xp sIm√w ap≥]v \Ωƒ Ct∏mƒ \n¬°p∂ Cu ÿew at\m-l-c-am-sbmcp ag-°mSm-bn-cp∂p (720). sske‚ vhmensb {]IrXn kuµ-cy-tØm-Sp≈ B`n-apJyw, \K-cØns‚ k¶o¿ÆXbn¬ \n∂v {Kma- {io-am-en- F∂ t]cn¬ IY-bn¬ Ah-X-cn-∏n-®n-cn°p∂p.- ""h¿j-e-£-ß-fpsS Im‰pw ag-bp-ta‰v {]IrXnbnte°p≈ aS°w, {Kma-Øn-\p-a-∏pdw a\p-jys‚ BZn-tKlamb ImSns‚ h\y-X-bn- ab-ßn-°n-S-°p∂ Hcp alm-h-\-am-bn-cp∂p, {io-amen. D®nbn¬ inJ-c-ßƒ hnS¿Øn ImSn∂v te-°p≈ aS°w, _mey-{]-Ir-Xn-bpsS \njvI-f-¶-X-bn-te-°p≈ aS°w, \jvS-amb am\-hn-I- IpS ]nSn®v \n¬°p∂ Iq‰≥ ac-ßƒ... -kZm Cu¿∏hpw Ccpfpw Huj[-s®-Sn-I-fpsS D—zm-k- Xm-Z¿i-\-ß-fn-te-°p-ff k©m-cw, \mK-cn-I-X-bpsS IS-∂p-I-b-‰-Øn-s\-Xn-sc-bp≈ Xm°o-Xv, K-‘hpw Hń-∏n-Sn® A¥-co-£w... -{]-IrXn Fb¿°-≠o-j≥ sNbvsXm-cp-°nb B h\m-¥¿`m- b{¥-h¬°cWtØmSp≈ hntbm-Pn-∏v, ]-cn-ÿnXn kwc-£-W-w. KØv ]e A]q¿∆P¥p°fpw ]pe¿∂n-cp-∂p. in¶-f-°p-c-ßp-Iƒ,- h-c-bm-Sp-Iƒ,- hn-Nn-{Xk¿∏- kmlnXyPohnXw {]Ir-XntbmsSm∏w Nne-hgn® IYm-Ir-Ømbncp∂p Fkv.-sI.s]ms‰- ßƒ,- cm-£-k-Ku-fn-Iƒ apX-em-b-h.- F-∂m¬ h\-im-¥nsb cm{Xnbn¬ km[m-cW iey-s∏-Sp- °m-´v. Imev]-\n-I-amb {]Ir-Xn-kvt\-l-Øn¬ \n∂v {Inbm-fl-I-amb {]Ir-Xn-t_m-[-Øn-te-°p≈ Øm-dp≈ Noho-Sp-Iƒ F¥p-sImt≠m AhnsS IpSn-sIm-≠n-cp-∂n-√.- A-Xn-\m¬ B h\w {]bmW-amWv At±lw \S-Øn-b-Xv. Fgp-]-Xp-I-fnepw F¨]-Xp-I-fnepamWv kmln-Xy-Øn¬ \nXyhpw au\-{]m¿∞\bn-em-bn-cp-∂p''(721). ]cn-ÿnXn Hcp Nn¥-bmbpw Fgp-Øp-co-Xn-bmbpw amdp-∂-Xv. B \ne-bn¬ t\m°p-tºmƒ {]Ir- h-\-Ønse am{Zn \Zn°p IpdpsI AW-°´p sI´p∂Xpw XpS¿∂v hcp∂ ]-cn-ÿn-Xn-\m- Xn-t_m-[-Øns‚ hgn-bn-eqsS Ime-Øn\p apsº \S∂ k©m-cn-bm-bn-cp∂p s]ms‰-°m-´v. ißfpw IYm-IrØv Zo¿L-ho-£-W-tØmsS Ah-X-cn-∏n-®n-cn-°p-∂p. ""am{Zn \Zn°v HcW sIń, {KŸ-kqNn H-cp-{K≥ Pe-ssh-Zyp-X-]-≤-Xn°v Kh¨sa‚ v πm≥ Xøm-dm-°n. -A-ßs\ Pe-ssh-Zyp-X-]-≤- XnbpsS t]cn¬ Kh¨sa‚ v {ioam-en-h-\-Øn\v h[-in£ hn[n-®p.'' CXn-s\-Xnsc i_vZ- 1. ANypX≥ Fw., 2011 (1973), sNdpIY C∂se C∂v, Un.kn. _pIvkv, tIm´bw. apb¿Øm≥ Fgp-Øp-Imtcm {]IrXnt{]an-Itfm D≠m-bn-cp-∂nt√ F∂v tNmZn-°p-tºmƒ 2. s]ms‰-°m´v Fkv.-sI.,2013, Fkv.-sI s]ms‰-°mńs‚ IY-Iƒ kºq¿Æw ˛hmeyw 1,2,Un.- AØcw {]Xn-I-c-Wßsf√mw ]Ww am{Xw e£yw h® DtZym-K-ÿcpw P\-{]-Xn-\n-[n-Ifpw kn.-_pIvkv tIm´bw ASn-®-a¿Ønb-Xmbn s{]m^-k¿ ]d-bp-∂p. Ioi ho¿∏n-°p∂ Imcy-am-sW¶n¬ `c-W-I-£n- sbt∂m {]Xn-]-£-sat∂m t`Zw I≠n-cp-∂n-√.{]Ir-Xn-`wKn hn‰v Imim-°m≥ IgnbpI-bn-√- 3. a[p-kq-Z-\≥ Pn., 2011(200),- I-Ybpw ]cn-ÿn-Xnbpw, Id‚ v _pIvkv,-tIm-´-bw. t√m-˛-AXv I≈-°-S-Øn\pw sIm≈p-I-bn-√.-A-Xn-\m¬ imkv{X-⁄-∑m-cp-sSbpw Ihn-I-fp-sSbpw 4. chn-Ip-am¿ sI.Fkv.(kwtim-[\w,]T-\w), Fkv.-sI s]ms‰-°mńs‚ IY-Iƒ kºq¿Æw kuµ-cym-cm-[-I-cp-sSbpw {]Xn-tj-[-ß-sf adn-I-S∂v tI{µ`-c-W-sØbpw Iui-e-tØm-sS H∂p ˛hmeyw 1 , Un.-kn.-_pIvkv ,tIm«bw. ab°n hnZyp-—-‡n-b-⁄-Øns‚ t]cn¬ Kh¨sa‚ v {ioam-en-h-\-sØ _en sImSp-Øp. a\p- jys‚ IS-∂m-{I-aWw sIm≠v ImSpw h\y-Po-hn-Ifpw ]Sn-]-Sn-bmbn \in-°p∂ ImgvN-bmWv XpS¿∂v. -{io-am-en-bnse Ah-km-\-Po-hn-bmb in¶-f-°p-c-ßns‚ acWw hnh-cn-®p-sIm-≠mWv IY Xocp-∂Xv: ""Ahs‚ A¥yw Fß-s\-bm-bn-cp-∂p-sht∂m? in¶-f-hm-\-c-h¿KØnse AwK- ß-sf√mw NØv, A-h≥ am{Xw Fß-s\tbm _m°n-bm-bn.- Hcp Znhkw Ah≥ aptºm´p NmSm≥ acw In´msX, H-Sp-hn¬ apºn¬ I≠ ]pXnb ac-Øn-te°v Hcp Nm´w NmSn. Hcp Ce-Iv{SnIv kvXw`-Øn-te°v! ssl sS≥j≥ Iºn-bn-emWv Ah≥ ]nSn®v XqßnbXv. c≠p-aq∂v {]mhiyw ]nS™v ImWpw. ]ns∂ sshZypXn Ahs‚ IY Ign-®p'' (723). {]Ir-Xn°v A\p-Iq-e-ambn \n∂v `mhn-bn¬ kw`-hn-t®-°m-hp∂ Zpc-¥-ßsf Hm¿Ωn∏n-®p-sIm≠v s]ms‰-°m-ńs‚ ]mcn- ÿn-Xn-Im-h-t_m[w aq∂mw L´-Øn¬ Xo{h-am-Ip-∂-Xv ChnsS ImWmw. D]-kw-lmcw {]Ir-Xn-tbm-Sp≈ ip≤-amb {]W-b-Øn¬ XpSßn \K-c-Øn-te-°p≈ {Kma-Øns‚ ]cn- Wm-a-Øn\v km£n-bmbn \n∂v, \jvS{]Ir-Xn-s°-Xnsc {]Xn-tcm-[-ap-b¿Øn, Bk-∂-amb {]- Ir-Xn-\m-iØns‚ Pm{K-Xm-k-tµiw \¬Ins°m≠v Hcp-h-iØv {Kma-{]IrXnbpsSbpw adp-h-

97 98 Ecoaesthetics and Literature

SECTION THREE

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99 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

SECTION THREE

HINDI

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103 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

+{…‰I……EfiÚi… ¥…∫i…fii… n÷˘ x…™…… EÚ“ +…‰Æ˙ EÚn˘®… §…f¯…x…‰ ±…M…‰* {…™……«¥…Æ˙h… EÚ“ ∫…∆EÚ±{…x…… |…EfiÚ i… EÚ“ i…÷±…x…… ®…Â V™……n˘… ¥…ËY…… x…EÚ EÚΩ˛“ V…… ∫…EÚi…“ ΩË˛* ¥…Ω˛ =i…x…… ¶……¥……i®…EÚ ™…… Æ˙…M……i®…EÚ x…Ω˛” ΩË˛, + {…i…÷ §……Ë r˘EÚ ™…… ¥…S……Æ˙…i®…EÚ ΩË˛* |…EfiÚ i… ∫… Ω˛i… +{…x…‰ S……Æ˙…Â +…‰Æ˙ E‰Ú S…‰i…x…-+S…‰i…x… i…i¥……Â ∫…‰ ®…x…÷π™… E‰Ú +…n˘…x…-|…n˘…x… +…ËÆ˙ +Œ∫i…i¥…M…i… Æ˙∂i…‰ EÚ… ÀS…i…x… ®…x…÷π™… E‰Ú |…M… i…∂…“±… Ω˛…‰x…‰ EÚ… {… Æ˙h……®… ΩË˛, V…∫…‰ {…™……«¥…Æ˙h… E‰Ú ∫…… Ω˛Œi™…EÚ ∫…∆n˘¶…« E‰Ú +∆i…M…«i… f⁄∆¯f¯… V…… ∫…EÚi…… ΩË˛* x……M……V…÷«x…, j…±……‰S…x…, E‰Ún˘…Æ˙x……l… +O…¥……±… 16 V…Ë∫…‰ EÚ ¥…™……Â EÚ“ EÚ ¥…i…… ®…Â +…B Ω÷˛B |……EfiÚ i…EÚ {… Æ˙o˘∂™… V……« |…n˘…x… EÚÆ˙x…‰¥……±…‰ i…i¥……Â E‰Ú ∞¸{… ®…Â ΩË˛ i……‰ EÚ¶…“ EÚ…¥™…-∂……∫j…“™… ∂…§n˘…¥…±…“ ®…Â EÚΩ˛… V……B i……‰ ®……x…¥…“™… ΩË˛* ∫…x…¬ 1980-90 E‰Ú +…∫…{……∫… EÚ… ¶……Æ˙i…“™… {… Æ˙¥…‰∂… EÚ<« o˘Œπ]ı™……Â ∫…‰ ®…Ω˛i¥…{…⁄h…« ΩË˛* =∫… ∫…®…™… EÚ“ ∫…Æ˙EÚ…Æ˙ EÚ“ x…<« x…“ i…™……Â ¶……¥……Â E‰Ú =q˘“{…x…-+…±…∆§…x… E‰Ú ∞¸{… ®…Â* ÀΩ˛n˘“ ∫…… Ω˛i™… EÚ“ §……i… EÚ“ V……B i……‰ +… n˘EÚ…±… ∫…‰ ±…‰EÚÆ˙ EÚÆ˙“§… UÙ…™……¥……n˘-™…÷M… i…EÚ E‰Ú EÚ…Æ˙h… ¶……Æ˙i… ®…Â ¶…⁄®…∆b˜±…“EÚÆ˙h… EÚ“ V…bÂ˜ v…“Æ‰˙-v…“Æ‰˙ ®…V…§…⁄i… Ω˛…‰x…‰ ±…M…” +…ËÆ˙ i…VV…x™… Œ∫l… i…™……ƒ, V…Ë∫…“ x…¥… ={… x…¥…‰∂…“EÚÆ˙h…, |…EfiÚ i… E‰Ú <∫… Æ˙…M……i®…EÚ ∫¥…∞¸{… EÚ“ ¥… ¶…z… UÙ ¥…™……ƒ |…®…÷J… Æ˙S…x……EÚ…Æ˙…Â EÚ“ Æ˙S…x……+…Â ®…Â ∫…÷Æ˙ I…i… ΩÈ˛* UÙ…™……¥……n˘“ EÚ ¥…i…… ®…Â ={…¶……‰M…¥……n˘“ ®……x… ∫…EÚi……, §……V……Æ˙¥……n˘“ ®…÷x……°Ú…J……‰Æ˙“ +… n˘ ¶…“ Ω˛®……Æ˙“ ®…⁄±…¶…⁄i… ∫…∆∫EfiÚ i… ®…Â P…÷±… ®…±… Æ˙Ω˛x…‰ ±…M…”* {…… Æ˙Œ∫l… i…EÚ“ |…EfiÚ i… E‰Ú ∫……l… EÚ… ™…Ω˛ Æ˙…M……i®…EÚ ∫…∆§…∆v…

¥…i…«®……x… ∫…®…™… ®…Â {…… Æ˙Œ∫l… i…EÚ“ EÚ… BEÚ `ˆıˆ…‰∫… Æ˙…V…x…“ i…EÚ {…I… ¶…“ ΩË˛* ={…™…÷«HÚ ¶…⁄®…∆b˜±…“EfiÚi… +{…∫…∆∫EfiÚ i… ®… Â Æ˙…V…x…“ i…EÚ |… i…®……x… ¶…“ +{…x…‰ ®…⁄±™… J……‰i…‰ V…… Æ˙Ω‰˛ ΩÈ˛* V…x…i……∆ j…EÚi…… EÚ… M…`ˆˆ-§…∆v…x… {…⁄∆V…“¥……n˘“ ∫…¶™…i…… ∫…‰ Ω˛…‰ S…÷EÚ… ΩË˛* °Ú±…i…& V…x…i……∆ j…EÚi…… EÚ… ∫…®……V……‰x®…÷J…“ S…‰Ω˛Æ˙… {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… ®…Â §…n˘±… M…™…… ΩË˛* <∫… x…¥… {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… ®…Â |…EfiÚ i… +…ËÆ˙ {…™……«¥…Æ˙h… EÚ… ∫…“®……i…“i… n˘…‰Ω˛x… Ω˛…‰ Æ˙Ω˛… ΩË˛* ¥…EÚ…∫… EÚ“ +…b˜ ®…Â EÚ™…‰ V……x…‰¥……±…‰ <∫… ∂……‰π…h…-i…∆j… EÚ…‰ ={…™…÷«HÚ {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… EÚ“ ®……x™…i…… ¶…“ ®…±… Æ˙Ω˛“ ΩË˛, <∫… ±…B ∫……®……x™… V…x…i…… E‰Ú ∫……®…x…‰ <∫… ∂……‰π…h…-i…∆j… EÚ… {……‰±… +C∫…Æ˙ J……‰±…… x…Ω˛” V……i…… ΩË˛* =n˘…Ω˛Æ˙h… E‰Ú ±…B +…V… E‰Ú V…®……x…‰ ®…Â §……∆v… ™…… Ω˛¥……<«-+b¬˜b‰˜ EÚ… |…∫…∆M… ∫……®……x™… + ∂… I…i… V…x…i…… E‰Ú ±…B ¥…EÚ…∫… ∫…‰ ∫…∆§…r˘ i……‰ ΩË˛, ±…‰ EÚx… ¥…S……Æ˙∂…“±… ∂… I…i… x…<« {…“f¯“ EÚ“ o˘Œπ]ı ®…Â ¥…Ω˛ i…l……EÚ l…i… {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… E‰Ú {…… Æ˙Œ∫l… i…EÚ v¥…∆∫… EÚ“ |… GÚ™…… EÚ… BEÚ ∫……®……x™… ={…GÚ®… ˆ`ˆΩ˛Æ˙i…… ΩË˛* E‰ÚÆ˙±… E‰Ú ∫…∆n˘¶…« ®…Â ®…÷±±…{{…‰ Æ˙™……Æ˙ §……∆v… +…ËÆ˙ +…Æ˙x®…÷≥˝… Ω˛¥……<«-+b¬˜b‰˜ E‰Ú ∫…±… ∫…±…‰ ®…Â V……‰ V…x…¥……n˘“ + ¶…™……x… §…E«ÚÆ˙…Æ˙ ΩË˛ =∫…‰ {…… Æ˙Œ∫l… i…EÚ v¥…∆∫… E‰Ú J…±……°Ú <∫…“ ¥…S……Æ˙∂…“±… ∂… I…i… x…<« {…“f¯“ E‰Ú |… i…Æ˙…‰v… E‰Ú ∞¸{… ®…Â +…∆EÚ… V…… ∫…EÚi…… ΩË˛˛* <∫…“ |…EÚ…Æ˙ V…±… E‰Ú +…Ët…‰M…“EÚÆ˙h… E‰Ú {…“U‰Ù ¶…“ {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… EÚ… Ω˛…l… ΩË˛* ¶……Æ˙i…“™… ∫…∆∫EfiÚ i… ®…Â V…±… n‰˘¥…i…… l……,V…“¥…x… EÚ…‰ §…x……B Æ˙J…x…‰¥……±…… i…i¥… l……, Ω˛®……Æ‰˙ {…™……«¥…Æ˙h…“™… ∫…∆i…÷±…x… EÚ… BEÚ +Ω˛®… Ω˛∫∫…… l……* ±…‰ EÚx… ¥…Ω˛“ V…±… i…Æ˙Ω˛-i…Æ˙Ω˛ EÚ“ §…Ω÷˛Æ˙…π]≈ı“™… E∆Ú{… x…™……Â E‰Ú Ω˛…l… ®…Â {…b˜EÚÆ˙ n⁄˘∫…Æ˙“ §……V……∞¸ S…“V……Â ®…Â BEÚ §…x… M…™…… ΩË˛, V…∫…EÚ… n÷˘J…n˘ {… Æ˙h……®… BEÚ +…‰Æ˙ {…… Æ˙Œ∫l… i…EÚ I…Æ˙h… ΩË˛ i……‰ n⁄˘∫…Æ˙“ +…‰Æ˙ {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… E‰Ú {…∆V……Â EÚ… {…⁄¥……« v…EÚ ®…V…§…⁄i… Ω˛…‰ V……x…… ΩË˛* ÀΩ˛n˘“ ∫…… Ω˛i™… EÚ“ §……i… EÚ“ V……B i……‰ 1980 E‰Ú §……n˘ EÚ“ ®…÷J™… ¥…v……+…Â ®…Â {…… Æ˙Œ∫l… i…EÚ“ ∫…‰ ∫…∆§…∆ v…i… M…Ω˛x… ¥…S……Æ˙- ¥…®…∂…« Ω÷˛+… ΩË˛* +∫∫…“ E‰Ú §……n˘ EÚ“ ÀΩ˛n˘“ EÚ ¥…i…… +…ËÆ˙ EÚΩ˛…x…“ ®…Â {…… Æ˙Œ∫l… i…EÚ ¥…®…∂…« §…Ω÷˛+…™……®…“ i…Æ˙“E‰Ú ®…Â ∫…§…∫…‰ ∫…∂…HÚ f∆¯M… ∫…‰ Ω÷˛+… ΩË˛* <∫… n˘…ËÆ˙ EÚ“ EÚ ¥…i…… EÚ“ §……i… EÚ“ V……B i……‰ |……™…& ∫…¶…“ S…ÃS…i… +…ËÆ˙ x…¥……M…i… EÚ ¥…™……Â x…‰ {…… Æ˙Œ∫l… i…EÚ“ EÚ…‰ EÂÚp˘- ¥…π…™… §…x……EÚÆ˙ {……ƒS…-UÙ& EÚ ¥…i……Bƒ W…∞¸Æ˙ ±…J…“ ΩÈ˛*

105 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

¥…i…«®……x… ∫…®…™… ®…Â {…… Æ˙Œ∫l… i…EÚ“ EÚ… BEÚ `ˆıˆ…‰∫… Æ˙…V…x…“ i…EÚ {…I… ¶…“ ΩË˛* ={…™…÷«HÚ ¶…⁄®…∆b˜±…“EfiÚi… +{…∫…∆∫EfiÚ i… ®… Â Æ˙…V…x…“ i…EÚ |…∫i…÷i… {…∆ HÚ™……Â ®…Â {… ¥…j… x…n˘“ M…∆M…… ®…Â Ω˛…‰x…‰¥……±…‰ |…n⁄˘π…h… EÚ… V…GÚ i……‰ W…∞¸Æ˙ ΩË˛, §……¥…V…⁄n˘ <∫…E‰Ú, {…… Æ˙Œ∫l… i…EÚ I…Æ˙h… E‰Ú |… i…®……x… ¶…“ +{…x…‰ ®…⁄±™… J……‰i…‰ V…… Æ˙Ω‰˛ ΩÈ˛* V…x…i……∆ j…EÚi…… EÚ… M…`ˆˆ-§…∆v…x… {…⁄∆V…“¥……n˘“ ∫…¶™…i…… ∫…‰ Ω˛…‰ S…÷EÚ… ΩË˛* °Ú±…i…& ¶……ËM……‰±…“EfiÚi… Æ˙¥…Ë™…‰ E‰Ú ∫……®…x…‰ ∂…x…Ë&-∂…x…Ë& n÷˘§…«±… Ω˛…‰i…‰ V……x…‰¥……±…‰ ∫……∆∫EfiÚ i…EÚ |… i…Æ˙…‰v… EÚ… ∫…∆E‰Úi… EÚ ¥…i…… EÚ…‰ +±…M… +l…«-i…±… V…x…i……∆ j…EÚi…… EÚ… ∫…®……V……‰x®…÷J…“ S…‰Ω˛Æ˙… {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… ®…Â §…n˘±… M…™…… ΩË˛* <∫… x…¥… {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… ®…Â |…EfiÚ i… |…n˘…x… EÚÆ˙i…… ΩË˛* Ω˛®……±…™… E‰Ú Ω˛…‰i…‰ ¶…“ i…÷®Ω˛…Æ‰˙ ∫…Æ˙Ω˛…x…‰- ™…Ω˛ {…∆ HÚ <∫… o˘Œπ]ı ∫…‰ =±±…‰J…x…“™… ΩË˛* Ω˛®……±…™… ™…Ω˛…ƒ ¶……Æ˙i… E‰Ú +…ËÆ˙ {…™……«¥…Æ˙h… EÚ… ∫…“®……i…“i… n˘…‰Ω˛x… Ω˛…‰ Æ˙Ω˛… ΩË˛* ¥…EÚ…∫… EÚ“ +…b˜ ®…Â EÚ™…‰ V……x…‰¥……±…‰ <∫… ∂……‰π…h…-i…∆j… EÚ…‰ ={…™…÷«HÚ {…⁄∆V…“¥……n˘“ i…l……EÚ l…i… {…Æ∆˙{…Æ˙…M…i… ∫……∆∫EfiÚ i…EÚ |… i…Æ˙…‰v… EÚ… |…i…“EÚ ΩË˛, V…∫…E‰Ú ®……v™…®… ∫…‰ EÚ ¥… {…… Æ˙Œ∫l… i…EÚ ∂……‰π…h… EÚ… ∫……®…x…… Ω˛®……Æ˙“ V…x…i……∆ j…EÚi…… EÚ“ ®……x™…i…… ¶…“ ®…±… Æ˙Ω˛“ ΩË˛, <∫… ±…B ∫……®……x™… V…x…i…… E‰Ú ∫……®…x…‰ <∫… ∂……‰π…h…-i…∆j… EÚ… {……‰±… +C∫…Æ˙ J……‰±…… x…Ω˛” M…Ω˛Æ˙“ ∫……∆∫EfiÚ i…EÚ {…⁄∆V…“ ∫…‰ EÚÆ˙x…‰ EÚ“ W…∞¸Æ˙i… EÚ…‰ Æ‰˙J……∆ EÚi… EÚÆ˙i…‰ ΩÈ˛* M…∆M…… EÚ… ®… ±…x… Ω˛…‰x…… ™…… Ω˛®……±…™… EÚ… n÷˘§…«±… Ω˛…‰x…… +∆i…i…& V……i…… ΩË˛* =n˘…Ω˛Æ˙h… E‰Ú ±…B +…V… E‰Ú V…®……x…‰ ®…Â §……∆v… ™…… Ω˛¥……<«-+b¬˜b‰˜ EÚ… |…∫…∆M… ∫……®……x™… + ∂… I…i… V…x…i…… E‰Ú ±…B ¥…EÚ…∫… Ω˛®……Æ‰˙ ∫……∆∫EfiÚ i…EÚ ∫¥…i¥… EÚ… n÷˘§…«±… Ω˛…‰x…… Ω˛“ ΩË˛* n‰˘¥…“|…∫……n˘ ®…∏… x…‰ ¶…“ {… Æ˙Œ∫l… i… +…ËÆ˙ ∫…∆∫EfiÚ i… E‰Ú <∫… +∆i…&∫…∆§…∆v… EÚ…‰ +{…x…“ ∫…‰ ∫…∆§…r˘ i……‰ ΩË˛, ±…‰ EÚx… ¥…S……Æ˙∂…“±… ∂… I…i… x…<« {…“f¯“ EÚ“ o˘Œπ]ı ®…Â ¥…Ω˛ i…l……EÚ l…i… {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… E‰Ú {…… Æ˙Œ∫l… i…EÚ "+∆i…∫…»§…∆v…' ∂…“π…«EÚ EÚ ¥…i…… ®…Â ™……Â n˘J……™…… ΩË˛- v¥…∆∫… EÚ“ |… GÚ™…… EÚ… BEÚ ∫……®……x™… ={…GÚ®… ˆ`ˆΩ˛Æ˙i…… ΩË˛* E‰ÚÆ˙±… E‰Ú ∫…∆n˘¶…« ®…Â ®…÷±±…{{…‰ Æ˙™……Æ˙ §……∆v… +…ËÆ˙ +…Æ˙x®…÷≥˝… Ω˛¥……<«-+b¬˜b‰˜ ∫…⁄J…“ ±…EÚ b˜™……ƒ §…“x…x…‰ EÚ…]ıx…‰ EÚ“ / n˘…Ëb˜-v…⁄{… ∫…‰ §…S…x…‰ E‰Ú ±…B/ +§……Ω÷˛ Ω˛Æ‰˙ {…‰b˜ EÚ“ b˜…±…Â EÚ…]ı ±……™…… / E‰Ú ∫…±… ∫…±…‰ ®…Â V……‰ V…x…¥……n˘“ + ¶…™……x… §…E«ÚÆ˙…Æ˙ ΩË˛ =∫…‰ {…… Æ˙Œ∫l… i…EÚ v¥…∆∫… E‰Ú J…±……°Ú <∫…“ ¥…S……Æ˙∂…“±… ∂… I…i… x…<« {…“f¯“ E‰Ú +…∏…®… {…Ω⁄ƒ˛S…… i……‰ M…÷Ø˚ v…Æ˙i…“ {…Æ˙ {…b‰˜ l…‰ / UÙ…j… P…‰Æ‰˙ l…‰ / +…∏…®… ®…Â ∫…z……]ı… l……/ M…÷Ø˚ EÚ“ §……ƒΩ˛ {…Æ˙ EÚ∫…“ |… i…Æ˙…‰v… E‰Ú ∞¸{… ®…Â +…∆EÚ… V…… ∫…EÚi…… ΩË˛˛* <∫…“ |…EÚ…Æ˙ V…±… E‰Ú +…Ët…‰M…“EÚÆ˙h… E‰Ú {…“U‰Ù ¶…“ {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… EÚ… Ω˛…l… ΩË˛* x…‰/ E÷Ú±Ω˛… b˜™……ƒ S…±……™…“ l…” ¶……Æ˙i…“™… ∫…∆∫EfiÚ i… ®…Â V…±… n‰˘¥…i…… l……,V…“¥…x… EÚ…‰ §…x……B Æ˙J…x…‰¥……±…… i…i¥… l……, Ω˛®……Æ‰˙ {…™……«¥…Æ˙h…“™… ∫…∆i…÷±…x… EÚ… BEÚ +Ω˛®… Ω˛∫∫…… l……* ±…‰ EÚx… ¥…Ω˛“ V…±… i…Æ˙Ω˛-i…Æ˙Ω˛ EÚ“ §…Ω÷˛Æ˙…π]≈ı“™… E∆Ú{… x…™……Â E‰Ú Ω˛…l… ®…Â {…b˜EÚÆ˙ n⁄˘∫…Æ˙“ §……V……∞¸ S…“V……Â ®…Â BEÚ §…x… M…™…… ΩË˛, Ω˛Æ‰˙ {…‰b˜ EÚ…‰ EÚ…]ı b˜…±…x…… Ω˛®……Æ˙“ ¥…W…x…n˘…Æ˙ M…÷Ø˚- ∂…π™…-{…Æ∆˙{…Æ˙… {…Æ˙ I… i… {…Ω⁄ƒ˛S……x…‰ ∫…‰ i… x…EÚ ¶…“ EÚ®… x…Ω˛” ΩË˛, <∫…“ ®……Ã®…EÚ V…∫…EÚ… n÷˘J…n˘ {… Æ˙h……®… BEÚ +…‰Æ˙ {…… Æ˙Œ∫l… i…EÚ I…Æ˙h… ΩË˛ i……‰ n⁄˘∫…Æ˙“ +…‰Æ˙ {…⁄∆V…“¥……n˘“ V…x…i……∆ j…EÚi…… E‰Ú {…∆V……Â EÚ… {…⁄¥……« v…EÚ ®…V…§…⁄i… i…l™… EÚ…‰ EÚ ¥… x…‰ ™…Ω˛…ƒ =n¬˘P…… ]ıi… EÚ™…… ΩË˛* Ω˛…‰ V……x…… ΩË˛* EÚ ¥…™……Â E‰Ú ∫…®……x… ¥…i…«®……x… n˘…ËÆ˙ E‰Ú EÚΩ˛…x…“EÚ…Æ˙…Â x…‰ ¶…“ +{…x…“ EÚΩ˛… x…™……Â ®…Â {…… Æ˙Œ∫l… i…EÚ ÀS…i…x… E‰Ú EÚ<« ®……Ã®…EÚ {…Ω˛±…÷+…Â ÀΩ˛n˘“ ∫…… Ω˛i™… EÚ“ §……i… EÚ“ V……B i……‰ 1980 E‰Ú §……n˘ EÚ“ ®…÷J™… ¥…v……+…Â ®…Â {…… Æ˙Œ∫l… i…EÚ“ ∫…‰ ∫…∆§…∆ v…i… M…Ω˛x… ¥…S……Æ˙- ¥…®…∂…« EÚ…‰ |…∫i…÷i… EÚ™…… ΩË˛* =n˘™… |…EÚ…∂…, Æ˙…V…‰∂… V……‰∂…“, ∫¥…™…∆ |…EÚ…∂…, ∫…∆V…“¥…, ®…fin÷˘±…… M…M…«, S…j…… ®…÷n¬˘M…±… +… n˘ E‰Ú x……®… <∫… ∫…∆n˘¶…« Ω÷˛+… ΩË˛* +∫∫…“ E‰Ú §……n˘ EÚ“ ÀΩ˛n˘“ EÚ ¥…i…… +…ËÆ˙ EÚΩ˛…x…“ ®…Â {…… Æ˙Œ∫l… i…EÚ ¥…®…∂…« §…Ω÷˛+…™……®…“ i…Æ˙“E‰Ú ®…Â ∫…§…∫…‰ ∫…∂…HÚ f∆¯M… ∫…‰ ®…Â =±±…‰J…x…“™… ΩË˛* Æ˙…V…‰∂… V……‰∂…“ EÚ“ "EÚ {…±… EÚ… {…‰b'˜, "®…È Ω˛¥…… {……x…“ {…ÀÆ˙n˘… E÷ÚUÙ x…Ω˛”', =n˘™… |…EÚ…∂… EÚ“ ±…∆§…“ EÚΩ˛…x…“ Ω÷˛+… ΩË˛* <∫… n˘…ËÆ˙ EÚ“ EÚ ¥…i…… EÚ“ §……i… EÚ“ V……B i……‰ |……™…& ∫…¶…“ S…ÃS…i… +…ËÆ˙ x…¥……M…i… EÚ ¥…™……Â x…‰ {…… Æ˙Œ∫l… i…EÚ“ EÚ…‰ EÂÚp˘- ¥…π…™… "®…ÈM……‰ ∫…±…', ∫…∆V…“¥… E‰Ú EÚΩ˛…x…“-∫…∆O…Ω˛ "Z…⁄]ı“ ΩË˛ i…‰i…Æ˙“ n˘…n˘“ EÚ“ EÚ<« EÚΩ˛… x…™……ƒ', ∫¥…™…∆ |…EÚ…∂… EÚ“ "V…∆M…±… EÚ… n˘…Ω˛', "EÚΩ˛…ƒ §…x……EÚÆ˙ {……ƒS…-UÙ& EÚ ¥…i……Bƒ W…∞¸Æ˙ ±…J…“ ΩÈ˛*

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∫…∆I…‰{… ®…Â EÚΩ˛… V……B i……‰ ∫…x…¬ 1980 E‰Ú §……n˘ E‰Ú ÀΩ˛n˘“ ∫…… Ω˛i™… ®…Â ∫j…“- ¥…®…∂…« +…ËÆ˙ n˘ ±…i…- ¥…®…∂…« E‰Ú ∫…®……x… {…… Æ˙Œ∫l… i…EÚ- ¥…®…∂…« ¶…“ BEÚ ={…±…Œ§v…{…⁄h…« ÀS…i…x…-v……Æ˙… E‰Ú ∞¸{… ®…Â +{…x…… EÚn˘®… ®…W…§…÷i… EÚÆ˙ Æ˙Ω˛… ΩË˛* <∫… ¥…®…∂…«-∂……J…… EÚ“ BEÚ∫……l… J…⁄ §…™……ƒ ¶…“ ΩÈ˛ +…ËÆ˙˙ J…… ®…™……ƒ ¶…“* {…… Æ˙Œ∫l… i…EÚ ÀS…i…x… EÚ…‰ EÂÚp˘- ¥…π…™… §…x……EÚÆ˙ ±…J…“ M…<« Æ˙S…x……+…Â ®…Â S……Ω‰˛ ¥…‰ ={…x™……∫…, EÚΩ˛… x…™……ƒ ™…… EÚ ¥…i……Bƒ C™……Â x… Ω˛…Â, ÀS…i…x… ∫…i…Ω˛“ ∫i…Æ˙ {…Æ˙ x… Ω˛…‰EÚÆ˙ M…Ω˛Æ‰˙ i……ËÆ˙ {…Æ˙ Ω÷˛+… ΩË˛, V…Ω˛…ƒ {…… Æ˙Œ∫l… i…EÚ I…Æ˙h… E‰Ú |…i™…I… ∫…Æ˙…‰EÚ…Æ˙…Â E‰Ú ∫……l…-∫……l… =∫…E‰Ú {…Æ˙…‰I… §…Œ±EÚ W™……n˘… i……EÚi…¥…Æ˙ {…Ω˛±…÷+…Â EÚ… ¶…“ =n¬˘P……]ıx… Ω÷˛+… ΩË˛* ¥…∂…‰π…EÚÆ˙, +…V… E‰Ú =k…Æ˙- +…Ë{… x…¥…‰ ∂…EÚ n˘…ËÆ˙ ®…Â +…ËÆ˙ ¶…⁄®…∆b˜±…“EﬁÚi… ∫…¶™…i…… ®…Â {…… Æ˙Œ∫l… i…EÚ v¥…∆∫… +…ËÆ˙ {… Æ˙Œ∫l… i… EÚ“ ={…¶……‰M…¥……n˘“ ±…⁄]ı E‰Ú EÚ<« ®…Ω˛“x… ∫…∆E‰Úi… Ω˛®……Æ˙“ ¥…i…«®……x… Æ˙…V…x…“ i…, ∫…k……, v…®…« +… n˘ ∫…‰ V…÷b‰˜ Ω÷˛B ΩÈ˛*

107 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

∫…∆I…‰{… ®…Â EÚΩ˛… V……B i……‰ ∫…x…¬ 1980 E‰Ú §……n˘ E‰Ú ÀΩ˛n˘“ ∫…… Ω˛i™… ®…Â ∫j…“- ¥…®…∂…« +…ËÆ˙ n˘ ±…i…- ¥…®…∂…« E‰Ú ∫…®……x… {…… Æ˙Œ∫l… i…EÚ- ¥…®…∂…« ¶…“ BEÚ ={…±…Œ§v…{…⁄h…« ÀS…i…x…-v……Æ˙… E‰Ú ∞¸{… ®…Â +{…x…… EÚn˘®… ®…W…§…÷i… EÚÆ˙ Æ˙Ω˛… ΩË˛* <∫… ¥…®…∂…«-∂……J…… EÚ“ BEÚ∫……l… J…⁄ §…™……ƒ ¶…“ ΩÈ˛ +…ËÆ˙˙ J…… ®…™……ƒ ¶…“* {…… Æ˙Œ∫l… i…EÚ ÀS…i…x… EÚ…‰ EÂÚp˘- ¥…π…™… §…x……EÚÆ˙ ±…J…“ M…<« Æ˙S…x……+…Â ®…Â S……Ω‰˛ ¥…‰ ={…x™……∫…, EÚΩ˛… x…™……ƒ ™…… EÚ ¥…i……Bƒ C™……Â x… Ω˛…Â, ÀS…i…x… ∫…i…Ω˛“ ∫i…Æ˙ {…Æ˙ x… Ω˛…‰EÚÆ˙ M…Ω˛Æ‰˙ i……ËÆ˙ {…Æ˙ Ω÷˛+… ΩË˛, V…Ω˛…ƒ {…… Æ˙Œ∫l… i…EÚ I…Æ˙h… E‰Ú |…i™…I… ∫…Æ˙…‰EÚ…Æ˙…Â E‰Ú ∫……l…-∫……l… =∫…E‰Ú {…Æ˙…‰I… §…Œ±EÚ W™……n˘… i……EÚi…¥…Æ˙ {…Ω˛±…÷+…Â EÚ… ¶…“ =n¬˘P……]ıx… Ω÷˛+… ΩË˛* ¥…∂…‰π…EÚÆ˙, +…V… E‰Ú =k…Æ˙- 17 +…Ë{… x…¥…‰ ∂…EÚ n˘…ËÆ˙ ®…Â +…ËÆ˙ ¶…⁄®…∆b˜±…“EﬁÚi… ∫…¶™…i…… ®…Â {…… Æ˙Œ∫l… i…EÚ v¥…∆∫… +…ËÆ˙ {… Æ˙Œ∫l… i… EÚ“ ={…¶……‰M…¥……n˘“ ±…⁄]ı E‰Ú EÚ<« ®…Ω˛“x… ∫…∆E‰Úi… Ω˛®……Æ˙“ ¥…i…«®……x… Æ˙…V…x…“ i…, ∫…k……, v…®…« +… n˘ ∫…‰ V…÷b‰˜ Ω÷˛B ΩÈ˛*

107 108 Ecoaesthetics and Literature

∂……‰π…h… EÚ… S…j…h… E‰Ú ±…B* +l……«i… i…“x… ∞¸{……Â ®…Â x…n˘“ EÚ… S…j…h… ®…±…i…… ΩË˛* x…n˘“ +…ËÆ˙ ®……x…¥… E‰Ú §…“S… EÚ… +…i®…“™… ∫…∆§…∆v… ®……x…¥… +…ËÆ˙ x…n˘“ E‰Ú §…“S… EÚ… +…i®…“™… ∫…∆§…∆v… S…Æ˙EÚ…±… ∫…‰ Æ˙Ω˛… ΩË˛* ®……x…¥… x…‰ ƒS……<« J……‰ Æ˙Ω‰˛ ΩÈ˛* x…n˘“ |…n⁄˘π…h… +…V… EÚ“ ∫…§…∫…‰ V¥…±…∆i… {…… Æ˙Œ∫l… i…EÚ ∫…®…∫™…… ΩË˛ {……x…“ |…n⁄˘π…h…* x…n˘“ E‰Ú S…j…h… E‰Ú W… Æ˙B {……x…“ |…n⁄˘π…h… EÚ“ + ¶…¥™… HÚ

109 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

∂……‰π…h… EÚ… S…j…h… E‰Ú ±…B* +l……«i… i…“x… ∞¸{……Â ®…Â x…n˘“ EÚ… S…j…h… ®…±…i…… ΩË˛* ∫…®…EÚ…±…“x… EÚ ¥…™……Â x…‰ EÚ“ ΩË˛* +…®… i……ËÆ˙ {…Æ˙ {…… Æ˙Œ∫l… i…EÚ“ ®…Â +∫…∆i…÷±…x… =i{…z… Ω˛…‰x…‰ EÚ“ Œ∫l… i… EÚ…‰ Ω˛“ |…n⁄˘π…h… EÚΩ˛i…‰ ΩÈ˛* x…n˘“ +…ËÆ˙ ®……x…¥… E‰Ú §…“S… EÚ… +…i®…“™… ∫…∆§…∆v… {……x…“ |…n⁄˘π…h… {……x…“ E‰Ú ∫¥…∞¸{… ®…Â =i{…z… Ω˛…‰x…‰ ¥……±…“ Œ∫l… i… EÚ… x……®… ΩË˛* V…±… ®…Â |…n⁄˘π…h… =i{…z… Ω˛…‰x…‰ {…Æ˙ =∫…®…Â P…÷±…x…∂…“±… EÚ…§…« x…EÚ i…l…… +EÚ…§…« x…EÚ {…n˘…l…« ®…±… V……i…‰ ΩÈ˛ |……‰]ı“x…, S…§…‘, EÚ…§……ÊΩ˛…ƒS……<« J……‰ Æ˙Ω‰˛ ΩÈ˛* V…±…{… I…™……Â x…‰ i™……M… n˘™…… ΩÈ˛ V…∫…‰ x…n˘“ |…n⁄˘π…h… ¶…⁄±… M…™…… ΩË˛ x…M…Æ˙ V…∫…‰ BEÚ x…n˘“ E‰Ú ∞¸{… ®…Â +…V… EÚ“ ∫…§…∫…‰ V¥…±…∆i… {…… Æ˙Œ∫l… i…EÚ ∫…®…∫™…… ΩË˛ {……x…“ |…n⁄˘π…h…* x…n˘“ E‰Ú S…j…h… E‰Ú W… Æ˙B {……x…“ |…n⁄˘π…h… EÚ“ + ¶…¥™… HÚ BEÚ ∫…“®…Â]ı EÚ“ x……±…“ ®…Â §…Ω˛i…“ V……i…“ ΩË˛ V……‰ ®……Ëi…, ®…÷n˘…«Æ˙

109 110 Ecoaesthetics and Literature

BEÚ x……®…∂…‰π… x…n˘“*'' (Y……x…‰xp˘{… i… - M…∆M……i…]ı - {…fi. 53) {…∆EÚV… S…i…÷¥…Ên˘“ x…‰ +{…x…“ EÚ ¥…i…… "BEÚ ∫…®…÷p˘ ¶…“ l……' ®…Â EÚS…Æ˙… +…ËÆ˙ M…∆n˘M…“ ∫…‰ |…n⁄˘ π…i… x…n˘“ EÚ… S…j…h… EÚ™…… ΩË˛: ""™…Ω˛…∆ BEÚ x…n˘“ l…“ V……‰ +§… ®…Ë±…“ Ω˛…‰ M…<« ΩË˛ C™……Â EÚ Ω˛®… =∫…®…Â EÚS…Æ˙… b˜…±… +…i…‰ ΩÈ˛*'' - {…∆EÚV… S…i…÷¥…Ên˘“ - BEÚ ∫…∆{…⁄h…«i…… E‰Ú ±…B - {…fi. 87) ®…i…±…§… ™…Ω˛ ΩË˛ EÚ x…n˘“ EÚ…‰ |…n⁄˘ π…i… EÚÆ˙x…‰ EÚ… EÚ…™…« ®……x…¥… Ω˛“ EÚÆ˙ Æ˙Ω˛… ΩË˛* x…n˘“ |…n⁄˘π…h… EÚ“ + ¶…¥™… HÚ Æ˙…V…‰xp˘ ={……v™……™… x…‰ +{…x…“ EÚ ¥…i…… "M…∆M…… E‰Ú¥…±… BEÚ x…n˘“ EÚ… x……®… x…Ω˛”' ®…Â EÚ“ ΩË˛* EÚ ¥… E‰Ú ±…B M…∆M…… E‰Ú¥…±… BEÚ x…n˘“ EÚ… x……®… ®……j… x…Ω˛” ΩË˛* =x…E‰Ú ±…B ¥…Ω˛ Ω˛®……Æ˙“ ∫……∆∫EfiÚ i…EÚ ¥…Æ˙…∫…i… EÚ… |…i…“EÚ ΩË˛* =∫…“ M…∆M…… EÚ“ +…V… EÚ“ §…÷Æ˙“ Ω˛…±…i… {…Æ˙ EÚ ¥… Æ˙…‰ =`î…‰ ΩÈ˛: Ω˛®… +{…x…‰ +®…fii… EÚ…‰ V…Ω˛Æ˙ ®…Â §…n˘±… Æ˙Ω‰˛ ΩÈ˛ +§… Ω˛®……Æ‰˙ ±…B ™…Ω˛ V…“¥…x…n˘… ™…x…“ EÚ…±… |…¥…… Ω˛x…“, EÚ®…«x……∂… x…n˘“ ®……ƒ x…Ω˛” ∫…°«Ú E⁄Úc˜… §…Ω˛…x…‰¥……±…“ M…∆n˘“ x……±…“ ΩË˛ V…x…®…Â Ω˛®……Æ‰˙ ∂…Ω˛Æ˙ EÚ“ M…∆n˘M…“ V…±…“-°÷∆ÚEÚ“ ±……∂…Â +…ËÆ˙ Ω˛®……Æ˙“ ±……∂…Â +…ËÆ˙ Ω˛®……Æ‰˙ +…i®…“™……Â EÚ“ +Ãl…™……ƒ §…‰Æ˙…‰EÚ-]ı…‰EÚ §…Ω˛…™…“ V……i…“ ΩÈ˛* ™…Ω˛ EÚ…Ëx… ®…‰Æ˙“ M…∆M…… ®…Â V…Ω˛Æ˙ J……‰±… Æ˙Ω˛… ΩË˛*'' (Æ˙…V…‰xp˘ ={……v™……™… - J…b˜EÚ“ E‰Ú ]⁄ı]‰ı Ω÷˛B ∂…“∂…‰ ®…Â - {…fi. 24) ∫…÷Æ‰˙∂…S…xp˘ ∫…¥…«Ω˛…Æ˙… x…‰ +{…x…“ EÚ ¥…i…… "Ω‰˛ M…∆M…‰' ®…Â ®…x…÷π™… EÚ… +EfiÚi…Y… Ω˛…‰EÚÆ˙ M…∆M…… x…n˘“ EÚ…‰ |…n⁄˘ π…i… EÚÆ˙x…‰ E‰Ú J…±……°Ú +…¥……W… =`ˆ…™…“ ΩË˛* EÚ ¥… x…‰ ™…Ω˛ EÚ ¥…i…… M…∆M…… EÚ…‰ ∫…∆§……‰ v…i… EÚÆ˙i…‰ Ω÷˛B ±…J…“ ΩË˛: "" EÚi…x…… ¥…‰n˘x……p˘ ΩË˛ M…∆M…‰ i…÷®Ω˛…Æ˙… ®…x… +EfiÚi…Y… ®……x…¥… {…Æ˙ EÚi…x…… J…z… Ω˛…‰i…… ΩË˛ i…÷®Ω˛…Æ˙… ®…x… V…§… n‰˘J…i…“ Ω˛…‰

111 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

BEÚ x……®…∂…‰π… x…n˘“*'' (Y……x…‰xp˘{… i… - M…∆M……i…]ı - {…fi. 53) +{…x…“ ±…Ω˛Æ˙…Â {…Æ˙ {…∆EÚV… S…i…÷¥…Ên˘“ x…‰ +{…x…“ EÚ ¥…i…… "BEÚ ∫…®…÷p˘ ¶…“ l……' ®…Â EÚS…Æ˙… +…ËÆ˙ M…∆n˘M…“ ∫…‰ |…n⁄˘ π…i… x…n˘“ EÚ… S…j…h… EÚ™…… ΩË˛: i…ËÆ˙i…“ +Œ∫l… E∆ÚEÚ…±……Â EÚ…‰ ""™…Ω˛…∆ BEÚ x…n˘“ l…“ Ω˛…‰i…“ Ω˛…‰M…“ +…i®…… n÷˘&J…“ V……‰ +§… ®…Ë±…“ Ω˛…‰ M…<« ΩË˛ V…§… |…n⁄˘π…h… EÚÆ˙ n‰˘i…… ΩË˛ C™……Â EÚ Ω˛®… =∫…®…Â i…÷®Ω˛…Æ‰˙ ∂…÷r˘ +Œ∫i…i¥… EÚ…‰ ¥…EfiÚi…*'' EÚS…Æ˙… b˜…±… +…i…‰ ΩÈ˛*'' - {…∆EÚV… S…i…÷¥…Ên˘“ - BEÚ ∫…∆{…⁄h…«i…… E‰Ú ±…B - {…fi. 87) (∫…÷Æ‰˙∂…S…xp˘ ∫…¥…«Ω˛…Æ˙… - Ω‰˛ M…∆M…‰, ®…v…÷®… i…, ¥…π…« 51, +∆EÚ 6-7, V…⁄x…-V…÷±……<« 2010 - {…fi. 89) ®…i…±…§… ™…Ω˛ ΩË˛ EÚ x…n˘“ EÚ…‰ |…n⁄˘ π…i… EÚÆ˙x…‰ EÚ… EÚ…™…« ®……x…¥… Ω˛“ EÚÆ˙ Æ˙Ω˛… ΩË˛* +…Ët…‰ M…EÚ“EÚÆh…˙ E‰Ú EÚ…Æ˙h… M…∆M…… x…n˘“ {…⁄Æ˙“ i…Æ˙Ω˛ |…n⁄˘ π…i… Ω˛…‰ M…™…“ ΩË˛* +§… <∫…E‰Ú V…±… EÚ…‰ {…“x…‰ ™……‰M™… §…x……x…‰ E‰Ú ±…B EÚÆ˙…‰b˜…Â Ø˚{…™…‰ J…S…« EÚÆ˙x…‰ {…b˜ Æ˙Ω‰˛ ΩÈ˛* M…∆M…… E‰Ú EÚx……Æ‰˙ Œ∫l…i… 30 ∫…‰ + v…EÚ +…§……n˘“¥……±…‰ ∂…Ω˛Æ˙…Â E‰Ú +…Ët…‰ M…EÚ +¥… ∂…π]ı M…∆M…… x…n˘“ |…n⁄˘π…h… EÚ“ + ¶…¥™… HÚ Æ˙…V…‰xp˘ ={……v™……™… x…‰ +{…x…“ EÚ ¥…i…… "M…∆M…… E‰Ú¥…±… BEÚ x…n˘“ EÚ… x……®… x…Ω˛”' ®…Â EÚ“ ΩË˛* EÚ ¥… x…n˘“ ®…Â |…¥…… Ω˛i… EÚ™…‰ V…… Æ˙Ω‰˛ ΩÈ˛* M…∆M…… E‰Ú |…n⁄˘π…h… ®…Â ∫…¥……« v…EÚ ™……‰M…n˘…x… =k…Æ˙|…n‰˘∂… EÚ… ΩË˛ V…∫…E‰Ú ∫…¥……« v…EÚ +…Ët…‰ M…EÚ ∂…Ω˛Æ˙ E‰Ú ±…B M…∆M…… E‰Ú¥…±… BEÚ x…n˘“ EÚ… x……®… ®……j… x…Ω˛” ΩË˛* =x…E‰Ú ±…B ¥…Ω˛ Ω˛®……Æ˙“ ∫……∆∫EfiÚ i…EÚ ¥…Æ˙…∫…i… EÚ… |…i…“EÚ ΩË˛* =∫…“ M…∆M…… EÚ…x…{…÷Æ˙ E‰Ú S…®…c‰˜-EÚ{…c‰˜ ¥… +x™… =t…ÂM……Â E‰Ú +¥… ∂…π]ı…Â E‰Ú n÷˘π|…¶……¥… ∫…‰ EÚ…x…{…÷Æ˙ ®…Â M…∆M…… EÚ… {……Æ˙n˘∂…‘ V…±… ¶…“ EÚ…±…… Ω˛…‰ M…™…… EÚ“ +…V… EÚ“ §…÷Æ˙“ Ω˛…±…i… {…Æ˙ EÚ ¥… Æ˙…‰ =`î…‰ ΩÈ˛: ΩË˛* +…Ët…‰ M…EÚ +¥…∂…‰π……Â +…ËÆ˙ x…M…Æ˙…Â EÚ“ ¥… ¶…z… |…EÚ…Æ˙ E‰Ú =i∫…M……Á E‰Ú EÚ…Æ˙h… ™…®…÷x…… EÚ… V…±… |…n⁄˘ π…i… Ω÷˛+… ΩË˛* S…∆§…±… x…n˘“ Ω˛®… +{…x…‰ +®…fii… EÚ…‰ V…Ω˛Æ˙ ®…Â §…n˘±… Æ˙Ω‰˛ ΩÈ˛ EÚ… ¶…“ ™…Ω˛“ Ω˛…±… ΩË˛* {……∫… Ω˛“ Œ∫l…i… =n¬˘™……‰M… +{…x…‰ =i{……n˘x… ®…Â ®…ÈM…x…“V… EÚ… ={…™……‰M… EÚÆ˙E‰Ú =∫…‰ x…n˘“ ®…Â UÙ…‰b˜EÚÆ˙ V…±… EÚ…‰ +§… Ω˛®……Æ‰˙ ±…B ™…Ω˛ V…“¥…x…n˘… ™…x…“ |…n⁄˘ π…i… EÚÆ˙ Æ˙Ω‰˛ ΩÈ˛* +…V… EÚ±… ¶……Æ˙i… EÚ“ Ω˛Æ˙ BEÚ x…n˘“ EÚ“ x…™… i… ™…Ω˛“ Æ˙Ω˛“ ΩË˛* EÚ…±… |…¥…… Ω˛x…“, EÚ®…«x……∂… x…n˘“ M…∆M…… Ω˛“ x…Ω˛“ ¶……Æ˙i… EÚ“ ∫…¶…“ ∏…‰π`ˆ x… n˘™……Â EÚ… ¶…“ ∂……‰π…h… Ω˛…‰ Æ˙Ω˛… ΩË˛* =∫…EÚ… ¥…h…«x… ¶…“ ∫…®…EÚ…±…“x… EÚ ¥…i…… ®…Â Ω÷˛+… ®……ƒ x…Ω˛” ΩË˛: ∫…°«Ú E⁄Úc˜… §…Ω˛…x…‰¥……±…“ M…∆n˘“ x……±…“ ΩË˛ V…x…®…Â Ω˛®……Æ‰˙ ∂…Ω˛Æ˙ EÚ“ M…∆n˘M…“ ""

111 112 Ecoaesthetics and Literature

+…S…Æ˙h… ®…Â §…n˘±……¥… ±……x…… Ω˛…‰M……* <∫…“ +¥…§……‰v… EÚ“ + ¶…¥™… HÚ ∫…®…EÚ…±…“x… EÚ ¥… n‰˘¥…µ…i… V……‰∂…“ x…‰ ™…⁄ƒ EÚ“ ΩÈ˛: ""x…n˘“ Ω˛“ ∂……™…n˘ +…n˘®…“ EÚ…‰ +…n˘®…“ §…x……B Ω÷˛B ΩÈ˛ x…n˘“ EÚ… +l…« ®…‰Æ‰˙ +…ËÆ˙ i…÷®Ω˛…Æ‰˙ ±…B ®……ƒ E‰Ú +±……¥…… C™…… Ω˛…‰ ∫…EÚi…… ΩË˛?'' (n‰˘¥…µ…i… V……‰∂…“-x…n˘“ EÚ… +l…«, ¶……π……, ¥…π…« 49, +∆EÚ 3, V…x…¥…Æ˙“-°ÚÆ˙¥…Æ˙“ 2010 - {…fi. 16) BEÚ…∆i… ∏…“¥……∫i…¥… V…“ x…‰ x…n˘“ E‰Ú |… i… G⁄ÚÆ˙i…… n˘J……x…‰ ¥……±…‰ ®…x…÷π™… E‰Ú ®…x… ®…Â {…… Æ˙Œ∫l… i…EÚ ∫…V…M…i…… V…M……x…‰ EÚ“ EÚ…‰ ∂…∂… ™…⁄ƒ EÚ“ ΩË˛:- i…÷®… x… n˘™……Â E‰Ú |… i… G⁄ÚÆ˙ Ω˛…‰EÚÆ˙ ¶…±…… EËÚ∫…‰ ∫…æ˛n˘™… Ω˛…‰ ∫…EÚi…‰ ΩÈ˛ +{…x…‰ n‰˘∂… +{…x…“ ∫…¶™…i…… E‰Ú |… i…* x…®…«±…… {…÷i…÷±… x…‰ §…⁄f¯“ {…fil¥…“ EÚ… n÷˘&J… x……®…EÚ EÚ ¥…i…… ®…Â ®……x…¥… ®…x… ®…Â {…… Æ˙Œ∫l… i…EÚ ∫…V…M…i…… V…M……x…‰ E‰Ú ±…B Æ˙…‰i…“ Ω÷˛<« x…n˘“ EÚ… +∆EÚx… EÚ™…… ΩË˛:- EÚ¶…“ Æ˙…i… EÚ“ ∫…z……]‰ı ®…Â +∆v…‰Æ‰˙ ∫…‰ ®…÷ƒΩ˛ f¯…ƒ{… EÚ∫… EÚn˘Æ˙ Æ˙…‰i…“ ΩË˛ x… n˘™……ƒ x…n˘“ EÚ… ∂……‰π…h… x…n˘“ E‰Ú ∂……‰π…h… EÚ“ |… GÚ™…… EÚ…‰ ®……ËV…⁄n˘… {… Æ˙Œ∫l… i…™……Â E‰Ú ∫……l… V……‰b˜EÚÆ˙ n‰˘J…x…‰ EÚ“ +…¥…∂™…EÚi…… ΩË˛* +…V… EÚ“ {… Æ˙Œ∫l… i…™……ƒ ®…x…÷π™…i…… E‰Ú J…±……°Ú ΩË˛* <∫… ±…B x…n˘“ E‰Ú J…±……°Ú ¥…Ω˛ +®……x…¥…“™… ¥™…¥…Ω˛…Æ˙ EÚÆ˙ Æ˙Ω˛… ΩË˛* x…n˘“ ∂……‰π…h… =∫…EÚ… +®……x…¥…“™… EÚÆi…⁄i… Ω˛“ ΩË˛* +…V… ®……x…¥… ¶…⁄®…∆b˜±…“EfiÚi… ∫…®……V… ®…Â Æ˙Ω˛ Æ˙Ω˛… ΩË˛ V…Ω˛…ƒ §…Ω÷˛Æ˙…π]≈ı“™… E∆Ú{… x…™……Â u˘…Æ˙… x…n˘“ EÚ“ §…GÚ“ Ω˛…‰ Æ˙Ω˛“ ΩË˛* +…V…

113 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

+…S…Æ˙h… ®…Â §…n˘±……¥… ±……x…… Ω˛…‰M……* <∫…“ +¥…§……‰v… EÚ“ + ¶…¥™… HÚ ∫…®…EÚ…±…“x… EÚ ¥… n‰˘¥…µ…i… V……‰∂…“ x…‰ ™…⁄ƒ EÚ“ ΩÈ˛: E‰Ú < i…Ω˛…∫… EÚ… EÚ…™……{…±…]ı Ω÷˛+… ΩË˛* +§… Ω˛®… x…n˘“ EÚ“ §…GÚ“ EÚ… < i…Ω˛…∫… Æ˙S… Æ˙Ω‰˛ ΩÈ˛* B. +Æ˙ ¥…xn˘…I…x… E‰Ú "+°Ú∫……‰∫…', ""x…n˘“ Ω˛“ ∂……™…n˘ +…n˘®…“ EÚ…‰ "x…n˘“' "{…‰ Æ˙™……Æ˙ EÚ… {……x…“' V…Ë∫…“ EÚ ¥…i……Bƒ <∫… ∫…SS……<« EÚ… {…n˘…«°Ú…∂… EÚÆ˙i…“ ΩÈ˛* +…n˘®…“ §…x……B Ω÷˛B ΩÈ˛ ""x… n˘™……ƒ x…n˘“ EÚ… +l…« ®…‰Æ‰˙ +…ËÆ˙ i…÷®Ω˛…Æ‰˙ ±…B Ω˛Æ˙ ™…÷M… ®…Â < i…Ω˛…∫… Æ˙S…i…“ l…“ ®……ƒ E‰Ú +±……¥…… C™…… Ω˛…‰ ∫…EÚi…… ΩË˛?'' +§…˛ ¶…“ Æ˙S…i…“ ΩÈ˛ (n‰˘¥…µ…i… V……‰∂…“-x…n˘“ EÚ… +l…«, ¶……π……, ¥…π…« 49, +∆EÚ 3, V…x…¥…Æ˙“-°ÚÆ˙¥…Æ˙“ 2010 - {…fi. 16) x… n˘™……Â EÚ“ §…GÚ“ E‰Ú <∫… W…®……x…‰ ®…Â < i…Ω˛…∫… EÚ…‰ i… x…EÚ §…n˘±… n˘™…… M…™…… ΩË˛*'' BEÚ…∆i… ∏…“¥……∫i…¥… V…“ x…‰ x…n˘“ E‰Ú |… i… G⁄ÚÆ˙i…… n˘J……x…‰ ¥……±…‰ ®…x…÷π™… E‰Ú ®…x… ®…Â {…… Æ˙Œ∫l… i…EÚ ∫…V…M…i…… V…M……x…‰ EÚ“ (B. +Æ˙ ¥…xn˘…I…x… - +…∫…{……∫… - {…fi. 23) EÚ…‰ ∂…∂… ™…⁄ƒ EÚ“ ΩË˛:- V…Ë∫…‰ EÚ Ω˛®… V……x…i…‰ ΩÈ˛ EÚ x…n˘“ EÚ…‰ ®……ƒ EÚ“ ΩË˛ ∫…™…i… n‰˘x…… ™…… =∫…‰ ®……∆ ∫…®…Z…x…… ¶……Æ˙i…“™… ∫…∆∫EfiÚ i… EÚ“ ¥…∂…‰π…i…… ΩË˛* n‰˘ J…B i…÷®… x… n˘™……Â E‰Ú |… i… G⁄ÚÆ˙ Ω˛…‰EÚÆ˙ +…n˘®…“ ™…Ω˛…ƒ B‰∫…“ ®……i……+…Â EÚ“ §…GÚ“ EÚÆ˙ ÆΩ˛˙… ΩË˛* ¶…±…… EËÚ∫…‰ ∫…æ˛n˘™… Ω˛…‰ ∫…EÚi…‰ ΩÈ˛ +{…x…‰ n‰˘∂… EÚ ¥… j…±……‰S…x… x…‰ <∫… ∂……‰π…h… ™…… n˘…‰Ω˛x… EÚ“ + ¶…¥™… HÚ "x…n˘“ EÚ…®…v…‰x…÷' x……®…EÚ EÚ ¥…i…… ®…Â ™…⁄ƒ EÚ“ ΩË˛:- +{…x…“ ∫…¶™…i…… E‰Ú |… i…* x…n˘“ x…‰ EÚΩ˛… l……: x…®…«±…… {…÷i…÷±… x…‰ §…⁄f¯“ {…fil¥…“ EÚ… n÷˘&J… x……®…EÚ EÚ ¥…i…… ®…Â ®……x…¥… ®…x… ®…Â {…… Æ˙Œ∫l… i…EÚ ∫…V…M…i…… V…M……x…‰ E‰Ú ±…B Æ˙…‰i…“ Ω÷˛<« ®…÷Z…‰ §……ƒv……‰ x…n˘“ EÚ… +∆EÚx… EÚ™…… ΩË˛:- ®…x…÷π™… x…‰ ∫…÷x…… +…ËÆ˙ ∫…{… Æ˙¥……Æ˙ P……]ı EÚ…‰ EÚ¶…“ Æ˙…i… EÚ“ ∫…z……]‰ı ®…Â x……¥… ∫…‰ {……Æ˙ EÚ™…… +∆v…‰Æ‰˙ ∫…‰ ®…÷ƒΩ˛ x…n˘“ x…‰ EÚΩ˛… l……: f¯…ƒ{… EÚ∫… EÚn˘Æ˙ ®…÷Z…‰ §……ƒv……‰ Æ˙…‰i…“ ΩË˛ x… n˘™……ƒ ®…x…÷π™… x…‰ ∫…⁄x…… +…ËÆ˙ x…n˘“ EÚ… ∂……‰π…h… +… J…Æ˙ =∫…‰ §……ƒv… ±…™…… §……ƒv… EÚÆ˙ x…n˘“ EÚ…‰ x…n˘“ E‰Ú ∂……‰π…h… EÚ“ |… GÚ™…… EÚ…‰ ®……ËV…⁄n˘… {… Æ˙Œ∫l… i…™……Â E‰Ú ∫……l… V……‰b˜EÚÆ˙ n‰˘J…x…‰ EÚ“ +…¥…∂™…EÚi…… ΩË˛* +…V… EÚ“ ®…x…÷π™… n÷˘Ω˛ Æ˙Ω˛… ΩË˛ {… Æ˙Œ∫l… i…™……ƒ ®…x…÷π™…i…… E‰Ú J…±……°Ú ΩË˛* <∫… ±…B x…n˘“ E‰Ú J…±……°Ú ¥…Ω˛ +®……x…¥…“™… ¥™…¥…Ω˛…Æ˙ EÚÆ˙ Æ˙Ω˛… ΩË˛* x…n˘“ ∂……‰π…h… =∫…EÚ… +…V… ¥…Ω˛ EÚ…®…v…‰x…÷ ΩË˛* +®……x…¥…“™… EÚÆi…⁄i… Ω˛“ ΩË˛* +…V… ®……x…¥… ¶…⁄®…∆b˜±…“EfiÚi… ∫…®……V… ®…Â Æ˙Ω˛ Æ˙Ω˛… ΩË˛ V…Ω˛…ƒ §…Ω÷˛Æ˙…π]≈ı“™… E∆Ú{… x…™……Â u˘…Æ˙… x…n˘“ EÚ“ §…GÚ“ Ω˛…‰ Æ˙Ω˛“ ΩË˛* +…V…

113 114 Ecoaesthetics and Literature x…n˘“ +…ËÆ˙ {…… Æ˙Œ∫l… i…EÚ“ E‰Ú J…±……°Ú {…⁄ƒV…“¥……n˘“ i……EÚi……Â E‰Ú ∫……ƒ`ˆ-M……ƒ`ˆ EÚ“ {…Ω˛S……x… n˘±……x…‰ EÚ“ EÚ…‰ ∂…∂… EÚ“ M…<« ΩÈ˛* <∫… |…™……∫… ®…Â ¥…‰,

115 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal x…n˘“ +…ËÆ˙ {…… Æ˙Œ∫l… i…EÚ“ E‰Ú J…±……°Ú {…⁄ƒV…“¥……n˘“ i……EÚi……Â E‰Ú ∫……ƒ`ˆ-M……ƒ`ˆ EÚ“ {…Ω˛S……x… n˘±……x…‰ EÚ“ EÚ…‰ ∂…∂… EÚ“ M…<« ΩÈ˛* <∫… |…™……∫… ®…Â ¥…‰,

b˜…Ï. Æ˙“x…… E÷Ú®……Æ˙“ ¥…“. B±….

""<∫… +…v…÷ x…EÚ ∫…®…™… ®…Â +…{… M…Ω˛Æ˙“ +∫…÷Æ˙I…… +…ËÆ˙ + x…Œ∂S…i… ¶… ¥…π™… n‰˘J…x…‰ +…™…‰ ΩÈ˛ C™……Â EÚ ™…Ω˛ ∫…§… ¶…“ +§… n‰˘J…x…‰ EÚ“ S…“W…Â Ω˛…‰ M…™…“ ΩË''˛1 ¥…Y……x… B¥…∆ i…EÚx…“EÚ“ EÚ“ +¶…⁄i…{…⁄¥…« |…M… i… E‰Ú §……¥…V…⁄n˘ ¥…±…÷{i… Ω˛…‰i…‰ |……EfiÚ i…EÚ ¥…Ë¶…¥… B¥…∆ V…Ë ¥…EÚ +¥…Œ∫l… i… EÚ“ ∫…®…∫™…… +…V… E‰Ú ®……x…¥… V…“¥…x… EÚ… ∫…§…∫…‰ ¶…“π…h… ™…l……l…« ΩË˛* |……EfiÚ i… EÚ… ∂……‰π…h… ®……x…¥… E‰Ú +Œ∫i…i¥… {…Æ˙ |…∂x… S…ºx… ±…M……x…‰ ±…M…… i……‰ =∫…EÚ“ |… i… GÚ™…… ∫…… Ω˛i™… E‰Ú ®……v™…®… ∫…‰ Ω˛…‰x…‰ ±…M…“* ∫…fiŒπ]ı EÚ… ∫…∆i…÷±…x… §…M…c˜x…‰ ±…M…… i……‰ ®…x…÷π™… EÚ…‰ J…i…Æ‰˙ EÚ… BΩ˛∫……∫… Ω˛…‰x…‰ ±…M……* ®…x…÷π™… |…EfiÚ i… ∫…‰ ¶…z… x…Ω˛”, |…EfiÚ i… EÚ… Ω˛“ BEÚ +∆M… ΩË˛* ®…x…÷π™… E‰Ú ∫…®……x… +x™… ∫…¶…“ V…“¥……Â EÚ…‰ >V……« |…n˘…x… EÚÆ˙x…‰¥……±…… ª……‰i… |…EfiÚ i… Ω˛“ ΩË˛* |…EfiÚ i… EÚ… ∫…∆{…⁄h…« i…∆j… BEÚ ®…∂…“x… EÚ“ i…Æ˙Ω˛ ΩË˛* ®…∂…“x… E‰Ú Ω˛Æ˙ ¶……M… =∫…E‰Ú ∫…÷S……Ø˚˙ EÚ…™…« ∫…∆S……±…x… E‰Ú ±…B ®…Ω˛i¥…{…⁄h…« ΩË˛* {…‰c˜-{……Ëv…‰, |……h…“, EÚ“b‰˜-®…EÚ…‰b‰˜, {…I…“, ÀΩ˛ª… V…“¥… +… n˘ ∫…¶…“ |…EfiÚ i… E‰Ú ®…Ω˛i¥…{…⁄h…« +∆M… ΩÈ˛*'' 2 |…EfiÚ i… EÚ… V…Ë ¥…EÚ ∫…∆i…÷±…x… §…Ω÷˛i… x……V…÷EÚ Ω˛…‰i…… ΩË˛* EÚ∫…“ BEÚ V…… i… EÚ“ §…÷÷ r˘˘ +l…¥…… x…Æ˙…EÚÆ˙h… ∫…‰ ¶……Ë i…EÚ {…™……«¥…Æ˙h… ®…Â §…n˘±……¥… Ω˛…‰ V……i…… ΩË˛* b˜…Ï.®……

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V…∫…EÚ… ¶…÷M…i……x… ¶……‰±…‰-¶……±…‰ {…∂…÷-{… I…™……Â EÚ…‰ EÚÆ˙x…… {…c˜ Æ˙Ω˛… ΩË˛* +…V… Ω˛®… n‰˘J…i…‰ ΩÈ˛ EÚ S… c˜™……ƒ, EÚ…ËB +…ËÆ˙ M…r˘ V…Ë∫…‰ {… I…™……Â EÚ“ |…V…… i…™……ƒ ¥…±…÷{i… Ω˛…‰x…‰ EÚ“ EÚM……Æ˙ {…Æ˙ ΩÈ˛* "i… c˜i… E÷Ú®……Æ' +{…x…“ EÚ ¥…i…… "P……‰∫…±……' ®…Â <∫… S…xi…… EÚ…‰ ¥™…HÚ EÚÆ˙i…‰ ΩÈ˛- ""+…V… ¶…“ ∫……‰S…i…… Ω⁄ƒ˛ S… c˜Bƒ Ω˛®…Â UÙ…‰c˜EÚÆ˙ C™……Â S…±…“ M…™…”? EÚΩ˛…ƒ M……™…§… Ω˛…‰ M…™…”? +…V…EÚ±… M…r˘ ¶…“ i……‰ EÚ®… n˘J……<« {…c˜i…‰ ΩÈ˛* ∫…÷x…… ΩË˛ §…S…‰-J…÷S…‰ V…∆M…±……Â ∫…‰ M……™…§… Ω˛…‰ M…B ΩÈ˛ EÚ<« i…Æ˙Ω˛ E‰Ú V……x…¥…Æ˙*''4 +…V… {… Æ˙Œ∫l… i… EÚ“ ¶……Ë i…EÚ, Æ˙…∫……™… x…EÚ, V…Ë ¥…EÚ Œ∫l… i…™……Â ®…Â {… Æ˙¥…i…«x… E‰Ú EÚ…Æ˙h… ®……x…¥… EÚ… V…“¥…x… +i™…xi… EÚ `ˆˆx… Ω˛…‰ M…™…… ΩË˛* {…… Æ˙Œ∫l… i…EÚ ∫…®…∫™……+…Â EÚ“ ¶…“π…h…i……+…Â {…Æ˙ <∂……Æ˙… EÚÆ˙i…‰ Ω÷˛B ∂…∂…÷{……±… À∫…Ω˛ x…‰ x…Ω˛” S…… Ω˛B ®…÷Z…‰ BEÚ +…ËÆ˙ ±……i…⁄Æ' EÚ ¥…i…… ±…J…“ ΩË˛- ""°ËÚ±… Æ˙Ω˛… ΩË˛ |…n⁄˘π…h… ¥…EﬁÚ i… +…ËÆ˙ ¥…I……‰¶… ™…l……Œ∫l… i… ∫…‰ EÚΩ˛…ƒ ®…÷ HÚ EÚ§… i…EÚ S…±…‰M…… ™…Ω˛ x…®…«®… S…GÚ x…Ω˛” S…… Ω˛B ®…÷Z…‰ BEÚ +…ËÆ˙ ±……i…⁄Æ˙*'' 5 {…™……«¥…Æ˙h… |…n⁄˘π…h… E‰Ú P……i…EÚ |…¶……¥……Â EÚ… ∫…]ı“EÚ S…j…h… b˜…Ï ±…J…x…±……±… À∫…Ω˛ EÚ“ EÚ ¥…i……+…Â ®…Â ¶…“ ®…±…i…… ΩË˛- ""∫…⁄J… M…<« ΩË˛ ®…‰Æ‰˙ M……ƒ¥… EÚ“ x…n˘“ §…Æ˙∫……i… ®…Â ¶…“ x…Ω˛” +…i…“ =∫…®…Â §……g¯ ∫…⁄J… M…™…… ΩË˛ ®…‰Æ‰˙ M……ƒ¥… EÚ… {…“{…±… EÚ… {…‰c˜ ¥…∫…∆i… ®…Â ¶…“ x…Ω˛” +…i…‰ ΩÈ˛ =∫…®…Â {…k…‰*''6 |…EﬁÚ i… ®…Â ®……x…¥… V…“¥…x… EÚ…‰ §…S……B Æ˙J…x…‰ E‰Ú ±…B {…‰c˜-{……Ëv…‰ Ω˛…‰x…… +…¥…∂™…EÚ ΩË˛* {…‰c˜ ∫…n˘… V…Ω˛Æ˙“±…… v…÷+…ƒ ∫……‰J…EÚÆ˙ i……W…… Ω˛¥…… n‰˘i…… ΩË˛, ®…x…÷π™… EÚ…‰ +z…, V…±…, °Ú±…, °⁄Ú±… +… n˘ n‰˘EÚÆ˙ ∫…n˘‘, M…®…‘,™…… §…… Æ˙∂… V…Ë∫…‰ EÚ∫…“ ¶…“ ®……Ë∫…®… ®…Â +{…x…‰ i…±…‰ {…x……Ω˛

117 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

V…∫…EÚ… ¶…÷M…i……x… ¶……‰±…‰-¶……±…‰ {…∂…÷-{… I…™……Â EÚ…‰ EÚÆ˙x…… {…c˜ Æ˙Ω˛… ΩË˛* +…V… Ω˛®… n‰˘J…i…‰ ΩÈ˛ EÚ S… c˜™……ƒ, EÚ…ËB +…ËÆ˙ M…r˘ V…Ë∫…‰ n‰˘EÚÆ˙ =x…EÚ… Æ˙I…h… EÚÆ˙i…… +…™…… ΩË˛, °ÚÆ˙ ¶…“ ®…x…÷π™… EÚ…‰ =∫…EÚ“ EÚp˘ x…Ω˛” ΩË˛* +…V… ∂…Ω˛Æ˙“EÚÆ˙h… EÚ“ |… GÚ™…… ®…Â {…‰c˜…Â EÚ…‰ {… I…™……Â EÚ“ |…V…… i…™……ƒ ¥…±…÷{i… Ω˛…‰x…‰ EÚ“ EÚM……Æ˙ {…Æ˙ ΩÈ˛* "i… c˜i… E÷Ú®……Æ' +{…x…“ EÚ ¥…i…… "P……‰∫…±……' ®…Â <∫… S…xi…… EÚ…‰ ¥™…HÚ EÚ…]ıx…… {…c˜i…… ΩË˛, W…M…±… EÚ…‰ ®…]ı…x…… {…c˜i…… ΩË˛* ∂…¥…x……Æ˙…™…h… EÚ“ EÚ ¥…i…… BEÚ {…‰c˜ EÚ… x…¥…‰n˘x… ΩË- EÚÆ˙i…‰ ΩÈ˛- ""C™……Â x…Ω˛” ∫…®…Z…i…‰ ""+…V… ¶…“ V…§…-V…§… i…÷®…x…‰ ®…÷Z…‰ UÙ‰c˜… ΩË˛ ∫……‰S…i…… Ω⁄ƒ˛ |…EfiÚ i… EÚ… ∫…∆i…÷±…x… §…M…c˜… ΩË˛ S… c˜Bƒ ®…S…… ΩË˛ v…Æ˙i…“ {…Æ˙ ¥…x……∂… EÚ… i……∆b˜¥… Ω˛®…Â UÙ…‰c˜EÚÆ˙ +…ËÆ˙ Ω÷˛+… ΩË˛ Ω˛Æ˙h… C™……Â S…±…“ M…™…”? V…“¥…x… EÚ“ ∫…Ω˛V…i…… EÚ…! EÚΩ˛…ƒ M……™…§… Ω˛…‰ M…™…”? ®…i… EÚ…]ı…‰ ®…÷Z…‰* +…V…EÚ±… ®…i… UÙ…ƒ]ı…‰ ®…÷Z…‰*'' 7 M…r˘ ¶…“ i……‰ {……x…“ V…Ë∫…‰ W…xn˘… Æ˙Ω˛x…‰ E‰Ú ±…B +…¥…∂™…EÚ |……EfiÚ i…EÚ n‰˘x… EÚ…‰, V…∫…EÚ… ∫…fiŒπ]ı E‰Ú |……Æ∆˙¶… ∫…‰ Ω˛“ |……h…“ ®……j… x…§……«v… ∞¸{… ∫…‰ EÚ®… n˘J……<« {…c˜i…‰ ΩÈ˛* ={…™……‰M… EÚÆ˙i…… +…™…… ΩË˛, ¥…Ω˛ +…V… §…GÚ“ EÚ“ ¥…∫i…÷ §…x…EÚÆ˙ §……W……Æ˙ EÚ… ®……±… §…x…i…… V…… ÆΩ˛… ΩË˛* BEÚ…∆i… ∏…“¥……∫i…¥… EÚ“ Æ˙…™… ∫…÷x…… ΩË˛ ®…Â |…EfiÚ i… E‰Ú ¥…Æ˙n˘…x… §…‰®……‰±… ΩË˛* "`∆ˆb‰˜ {……x…“ EÚ“ ®…∂…“x…' EÚ ¥…i…… ®…Â ¥…‰ ±…J…i…‰ ΩÈ˛- §…S…‰-J…÷S…‰ V…∆M…±……Â ∫…‰ M……™…§… Ω˛…‰ M…B ΩÈ˛ "" n˘±±…“ E‰Ú BEÚ S……ËÆ˙…Ω‰˛ {…Æ˙ EÚ<« i…Æ˙Ω˛ E‰Ú V……x…¥…Æ˙*''4 ®…È =∫…‰ n‰˘J…EÚÆ˙ b˜Æ˙ M…™…… EÚ V……‰ +…EÚ…∂… ∫…‰ §…Æ˙∫…i…… ΩË˛ §…‰‰®……‰±… +…V… {… Æ˙Œ∫l… i… EÚ“ ¶……Ë i…EÚ, Æ˙…∫……™… x…EÚ, V…Ë ¥…EÚ Œ∫l… i…™……Â ®…Â {… Æ˙¥…i…«x… E‰Ú EÚ…Æ˙h… ®……x…¥… EÚ… V…“¥…x… +i™…xi… EÚ `ˆˆx… Ω˛…‰ V……‰ x… n˘™……Â ®…‰∆ §…Ω˛i…… ΩË˛ J…÷±…‰ +…®… M…™…… ΩË˛* {…… Æ˙Œ∫l… i…EÚ ∫…®…∫™……+…Â EÚ“ ¶…“π…h…i……+…Â {…Æ˙ <∂……Æ˙… EÚÆ˙i…‰ Ω÷˛B ∂…∂…÷{……±… À∫…Ω˛ x…‰ x…Ω˛” S…… Ω˛B ®…÷Z…‰ BEÚ +…ËÆ˙ i……‰ +§… ™…Ω˛ {……x…“ ¶…“ §…EÚ…> Ω˛…‰ M…™…… ±……i…⁄Æ' EÚ ¥…i…… ±…J…“ ΩË˛- ""°ËÚ±… Æ˙Ω˛… ΩË˛ |…n⁄˘π…h… ¥…EfiÚ i… +…ËÆ˙ ¥…I……‰¶… ™…l……Œ∫l… i… ∫…‰ EÚΩ˛…ƒ ®…÷ HÚ EÚ§… i…EÚ S…±…‰M…… ™…Ω˛ x…®…«®… §……W……Æ˙ ®…Â*'' 8 S…GÚ x…Ω˛” S…… Ω˛B ®…÷Z…‰ BEÚ +…ËÆ˙ ±……i…⁄Æ˙*'' 5 {……x…“ EÚ…‰ §……‰ i…±… ®…Â §…∆∆n˘ EÚÆ˙x…… ®…i…±…§… =∫… {…Æ˙ EÚ§V…… EÚÆ˙x…… ΩË˛* EÚ§V…… ™…÷r˘ EÚ…‰ x…®…∆j…h… n‰˘i…… ΩË˛* ∫…∆∫……Æ˙ ¶…Æ˙ ®…Â ™…Ω˛ {…™……«¥…Æ˙h… |…n⁄˘π…h… E‰Ú P……i…EÚ |…¶……¥……Â EÚ… ∫…]ı“EÚ S…j…h… b˜…Ï ±…J…x…±……±… À∫…Ω˛ EÚ“ EÚ ¥…i……+…Â ®…Â ¶…“ ®…±…i…… ΩË˛- +…∂…∆EÚ… |…§…±… ΩË˛ EÚ i…“∫…Æ˙… ¥…∑…™…÷r˘˘ {……x…“ E‰Ú ±…B Ω˛…‰M……* ""∫…⁄J… M…<« ΩË˛ ®…‰Æ‰˙ M……ƒ¥… EÚ“ x…n˘“ M…∆M…… x…n˘“ E‰Ú |…n⁄˘π…h… {…Æ˙ ∫…®…EÚ…±…“x… EÚ ¥…™……Â x…‰ x…<« EÚ ¥…i……Bƒ ±…J…“ ΩÈ˛*

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M…∆M…… E‰Ú >{…Æ˙ =c˜i…… Ω÷˛+… {…I…“ ¥…π… EÚ“ v……Ω˛ ∫…‰ Z…÷±…∫… V……BM…… EÚ BEÚ n˘x… M…∆M…… x…Ω˛” Æ˙Ω‰˛M…“ +…ËÆ˙ °ÚÆ˙ M…∆M……- ¥…‰ Æ˙J… +…B ΩË˛ M…∆M…… E‰Ú u˘…Æ˙ {…Æ˙ ¥…π… {……j…*'' 9 +…V… Ω˛®……Æ˙… n‰˘∂… {……x…“ E‰Ú ¶……Æ˙“ ∫…∆EÚ]ı EÚ… ∫……®…x…… EÚÆ˙ Æ˙Ω˛… ΩË˛* ™…Ω˛ ∫…∆EÚ]ı Ω˛Æ˙ ¥…π…« §…g¯i…… Ω˛“ V……BM……, C™……Â EÚ V…±…- ∫…∆S…™…x… EÚÆ˙x…‰¥……±…“ Ω˛®……Æ˙“ x… n˘™……Â EÚ…‰ Ω˛®……Æ˙˙“ ∫¥……l…‘ {…“g¯“ x…‰ ®… ±…x… ¥… M…∆n˘… §…x…… n˘™…… ΩË˛* "®…i∫™… EÚx™……' ®…Â ¥…®…±…E÷Ú®……Æ˙ EÚ… EÚl…x… ΩË˛- ""∫… n˘™……Â ∫…‰ ®…UÙ±…“ {……x…“ ®…Â ΩË˛ {…Æ˙ {……x…“ +§… =∫…‰ ∫…⁄<« EÚ“ i…Æ˙Ω˛ S…÷®…x…‰ ±…M…… ΩË˛ Ω˛Æ˙ Æ˙…i… ®…÷Z…∫…‰ EÚΩ˛i…“ ΩË˛ ®…UÙ±…“ ¥…‰n˘x…… E‰Ú ∫¥…Æ˙ ®…Â ®…‰Æ‰˙ ±…B i…÷®…

119 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

M…∆M…… E‰Ú >{…Æ˙ =c˜i…… Ω÷˛+… {…I…“ {……Ï ±… l…x… ! {……Ï ±… l…x… ! ¥…π… EÚ“ v……Ω˛ ∫…‰ Z…÷±…∫… V……BM…… i…∆M… Ω⁄ƒ˛ ®…È <∫… {……Ï ±… l…x… ∫…‰ EÚ BEÚ n˘x… M…∆M…… i…∆M… {…c˜i…“ V…… Æ˙Ω˛“ ΩË˛ V…M…Ω˛ V…“¥……Â EÚ…‰ v…Æ˙i…“ {…Æ˙ x…Ω˛” Æ˙Ω‰˛M…“ +…ËÆ˙ °ÚÆ˙ M…∆M……- §…“V……Â EÚ…‰ v…Æ˙i…“ {…Æ˙ ¥…‰ Æ˙J… +…B ΩË˛ M…∆M…… E‰Ú u˘…Æ˙ {…Æ˙ ¥…π… {……j…*'' 9 <∫…E‰Ú EÚ…Æ˙h… V…v…Æ˙ n‰˘J……‰ =v…Æ˙ {……Ï ±… l…x… +…V… Ω˛®……Æ˙… n‰˘∂… {……x…“ E‰Ú ¶……Æ˙“ ∫…∆EÚ]ı EÚ… ∫……®…x…… EÚÆ˙ Æ˙Ω˛… ΩË˛* ™…Ω˛ ∫…∆EÚ]ı Ω˛Æ˙ ¥…π…« §…g¯i…… Ω˛“ V……BM……, C™……Â EÚ V…±…- {……Ï ±… l…x… EÚ“ ®…÷]¬ı`ˆ“ ®…Â §…∆n˘ ΩË˛ §……W……Æ˙ ∫…∆S…™…x… EÚÆ˙x…‰¥……±…“ Ω˛®……Æ˙“ x… n˘™……Â EÚ…‰ Ω˛®……Æ˙˙“ ∫¥……l…‘ {…“g¯“ x…‰ ®… ±…x… ¥… M…∆n˘… §…x…… n˘™…… ΩË˛* "®…i∫™… EÚx™……' ®…Â ¥…®…±…E÷Ú®……Æ˙ ˙ V…∫… i…ÆΩ˛ §……W……Æ˙ EÚ“ ®…÷]¬ı`“Ú ®…Â §…∆n˘ ΩË˛ §……W……Æ˙*'' 11 EÚ… EÚl…x… ΩË˛- i…‰V…Æ˙…®… ∂…®……« EÚ“ "{…fil¥…“ EÚ“ +…‰Æ˙' EÚ ¥…i…… ®…Â M±……Ï§…±… ¥……Õ®…M… ∫…‰ {…fil¥…“ EÚ“ >π®…… §…f¯x…‰ EÚ… ∫…∆E‰Úi… ®…±… V……i…… ΩË˛* ∫……i… ""∫… n˘™……Â ∫…‰ ®…UÙ±…“ ∫…®…÷p˘…Â ∫…‰ P…Æ˙“ Æ˙Ω˛x…‰ E‰Ú §……¥…V…⁄n˘ ¶…“ ∫…⁄Æ˙V… EÚ“ ¶…∆™…EÚÆ˙ M…®…‘ ∫…‰ {…fil¥…“ x…Ω˛” §…S…i…“* EÚ ¥…i…… EÚ“ {…∆ HÚ™……ƒ ΩÈ˛- {……x…“ ®…Â ΩË˛ {…Æ˙ {……x…“ +§… ""P…‰Æ˙… i……‰c˜EÚÆ˙ =∫…‰ ∫…⁄<« EÚ“ i…Æ˙Ω˛ S…÷®…x…‰ ±…M…… ΩË˛ + Mx… EÚ… M……‰±…… Ω˛Æ˙ Æ˙…i… ®…÷Z…∫…‰ M…Æ˙ Ω˛“ {…c˜i…… ΩË˛ {…fil¥…“ {…Æ˙ EÚΩ˛i…“ ΩË˛ ®…UÙ±…“ ®…]¬ı]ı“ ∫…⁄Æ˙V… Ω÷˛<« ¥…‰n˘x…… E‰Ú ∫¥…Æ˙ ®…Â ∂…Ω˛Æ˙ E‰Ú §…“S……Â-§…“S… ®…‰Æ‰˙ ±…B i…÷®…

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121 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

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123 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

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∫…∆∫……v…x… EÚ… §……‰i…±… ®…Â §…∆n˘ EÚÆ˙E‰Ú §…‰S…x…… ¥……∫i…¥… ®…Â Ω˛®……Æ˙“ ∫…∆∫EfiÚ i… {…Æ˙ +{…∫…∆∫EfiÚ i… EÚ… Ω˛∫i…I…‰{… Ω˛“ ΩË˛* C™……Â EÚ +…V… ®…∂…“x…“ ∫…∆∫EfiÚ i… Ω˛®……Æ‰˙ §…“S… {…x…{…i…“ ΩË˛* {…™……«¥…Æ˙h… |…n⁄˘π…h… E‰Ú EÚ…Æ˙h… §……g¯ EÚ… |…EÚ…‰{… Ω˛…‰i…… ΩË˛* §……g¯ ∫…‰ =i{…z… ®……x…¥…“™… j……∫…n˘“ EÚ…‰ "§…∆M±……n‰˘∂…' x……®…EÚ EÚ ¥…i…… ¥™…HÚ EÚÆ˙i…“ ΩË˛ - ""Ω˛®……Æ‰˙ P…Æ˙ ∫…®…÷p˘ ®…Â §…Ω˛ M…B/Ω˛®……Æ˙“ x……¥…Â ∫…®…÷p˘ ®…Â b⁄˜§… M…<»/Ω˛Æ˙ V…M…Ω˛/Ω˛Æ˙ V…M…Ω˛/Ω˛Æ˙ V…M…Ω˛/=°Úx… Æ˙Ω˛… ΩË˛ ∫…®…÷p˘/Ω˛®……Æ‰˙ +…ƒM…x… ®…Â ∫…®…÷p˘ EÚ… Z……M…/Ω˛®……Æ‰˙ ∫…{…x……Â ®…Â ∫…®…÷p˘ EÚ“ Æ‰˙i…/+¶……M…‰ ¥…fiI… ΩË˛ Ω˛®… §…Ω˛ M…B/ V…x…E‰Ú V…c˜˜…Â EÚ“ ®…]¬ı]ı“*''5 §……g¯ E‰Ú EÚ…Æ˙h… =i{…z… ¥…¶…“ π…EÚ… EÚ…‰ Ω˛®… ™…Ω˛…ƒ n‰˘J… ∫…EÚi…‰ ΩÈ˛* V…∫… |…EÚ…Æ˙ ®…]¬ı]ı“ ∫…‰ =J…c˜EÚÆ˙ ¥…fiI… EÚ… EÚ…‰<« +Œ∫i…i¥… x…Ω˛” Ω˛…‰i……, =∫…“ |…EÚ…Æ˙ +{…x…‰ P…Æ˙ E‰Ú =V…c˜x…‰ {…Æ˙ ®…x…÷π™… ¶…“ +Œ∫i…i¥…Ω˛“x… Ω˛…‰ V……i…… ΩË˛* <∫…“ Ω˛EÚ“EÚi… EÚ…‰ EÚ ¥… x…‰ ™…Ω˛…ƒ ¥™…HÚ EÚ™…… ΩË˛* §…∆M……±… ∫…‰ Ω˛…‰EÚÆ˙ §…Ω˛x…‰¥……±…“ "n˘…®……‰n˘Æ'˙ x…n˘“ EÚ…‰ "§…∆M……±… EÚ… n÷˘&J…' EÚΩ˛… V……i…… ΩË˛* <∫… x…n˘“ ®…Â Ω˛…‰x…‰¥……±…‰ §……g¯ E‰Ú EÚ…Æ˙h… ¥…Ω˛…ƒ EÚ“ V…x…i…… Ω˛®…‰∂…… |……EfiÚ i…EÚ |…EÚ…‰{… EÚ… ∂…EÚ…Æ˙ §…x…i…“ ΩË˛* ™…Ω˛“ ∫…SS……<« EÚ ¥… x…‰ ™…Ω˛…ƒ |…∫i…÷i… EÚ“ ΩË˛* {…… Æ˙Œ∫l… i…EÚ ∫……Èn˘™…«∂……∫j…, |…EfiÚ i… EÚ“ M……‰n˘ ®…Â {…±…x…‰¥……±…… ∫…Ω˛V… ®……x…¥… EÚ… ∫……Èn˘™…«§……‰v… Ω˛“ ΩË˛* B‰∫…… ®……x…¥… EÚ¶…“ ¶…“ |…EfiÚ i… EÚ… n÷˘Ø˚{…™……‰M… x…Ω˛” EÚÆ‰˙M……* |……EfiÚ i…EÚ S…“W……Â ∫…‰ Ω˛“ =∫…EÚ… ±…M……¥… Ω˛…‰M……* V……x…‰-+x…V……x…‰ Ω˛“ ¥…Ω˛ |…EfiÚ i… E‰Ú ∫……Èn˘™…« ∫…‰ i……n˘…i®™… O…Ω˛h… EÚÆ˙E‰Ú Ω˛“ V…“¥…x…™……{…x… EÚÆ˙i…… ΩË˛* "P…Æ˙ EÚ“ +…‰Æ˙ ¥……{…∫…“' x……®…EÚ EÚ ¥…i…… ®…Â <∫…“ |…EÚ…Æ˙ E‰Ú EÚ ¥… EÚ®…« EÚ…‰ Ω˛®… n‰˘J… ∫…EÚi…‰ ΩÈ˛* ""§…… Æ˙∂… +… S…÷EÚ“ ΩË˛/+…ËÆ˙ M…÷±… ®……‰Ω˛Æ˙…Â ®…Â {…UÙ±…“ @Òi…÷ E‰Ú/+… J…Æ˙“ °⁄Ú±… J…±…‰ ΩÈ˛/B‰∫…‰ ®…Â/BEÚ v…÷ƒv…÷+…i…“ ∫……ƒZ… P…Æ˙ {…Ω÷ƒ˛S……/ n˘™……-§……i…“ E‰Ú §…‰Æ˙/BEÚ {…÷Æ˙…x…“ EÚΩ˛…x…“ ®…Â/±……Ë]ıx…‰ V…Ë∫…… ΩË˛*'' 6 ™…Ω˛…ƒ EÚ ¥… x…‰ x…M…Æ˙ V…“¥…x… ∫…‰ ¥……{…∫… |…EfiÚ i… EÚ“ M……‰n˘ ®…Â +…x…‰ EÚ“ S……Ω˛ |…∫i…÷i… EÚ“ ΩË˛* ±…‰ EÚx… n÷˘¶……«M™… ∫…‰ +…V… M……ƒ¥… x…Ω˛” Æ˙Ω‰˛* x…M…Æ˙“EÚÆ˙h… E‰Ú ®……Ω˛…Ë±… ®…Â ®…x…÷π™… EÚ…‰ V…“x…… {…c˜i…… ΩË˛* ™…Ω˛ BEÚ + ¶…∂…{i… Ω˛…±…i… ΩË˛* B‰∫…“ Ω˛…±…i… ∫…‰ ®…÷HÚ Ω˛…‰x…‰ E‰Ú ±…B =x…EÚ… ®…x… §…‰S…Ëx… ΩË˛* ®…x…÷π™… V…“¥…x… Ω˛“ x…Ω˛” <∫… n÷˘ x…™…… E‰Ú ∫…®…∫i… V…“¥…x… |…EfiÚ i… B¥…∆ {…… Æ˙Œ∫l… i…EÚ“ {…Æ˙ x…¶…«Æ˙ ΩÈ˛* {…… Æ˙Œ∫l… i…EÚ ¥™…¥…∫l…… E‰Ú §…M…c˜x…‰ {…Æ˙ ¶…⁄ ®… ®…Â V…“¥…x… n÷˘∫∫……v™… Ω˛…‰ V……BM……* <∫…“ ¥……∫i… ¥…EÚi…… EÚ“ +…‰Æ˙ EÚ ¥… x…‰ ™…Ω˛…ƒ V…x…i…… EÚ…‰ +…M……Ω˛ EÚ™…… ΩË˛* +…v…÷ x…EÚ ∫…¶™…i…… {…™……«¥…Æ˙h… ∫…∆i…÷±…x… EÚ…‰ +C∫…Æ˙ +x…n‰˘J…… EÚÆ˙E‰Ú +… Æ˙Ω˛“ ΩË˛* {… Æ˙h……®… ∫¥…∞¸{… {…… Æ˙Œ∫l… i…EÚ ∫…n˘…S……Æ˙ M……™…§… Ω˛…‰x…‰ ±…M……* v…“Æ‰˙-v…“Æ‰˙ +…v…÷ x…EÚ ∫…¶™…i…… E‰Ú E‰Úxp˘ ®…Â +…Ët…‰M…“EÚÆ˙h… V…M…Ω˛ V…®……x…‰ ±…M…… +…ËÆ˙ {…… Æ˙Œ∫l… i…EÚ i…∆j… {…Æ˙ M…∆¶…“Æ˙ +…P……i… {…Ω⁄ƒ˛S……x…‰ ±…M……* V…“¥…x… +…ËÆ˙ V…“x…‰ E‰Ú ¥……i……¥…Æ˙h… {…Æ˙ ¶…“ =∫…EÚ… M…∆¶…“Æ˙ +∫…Æ˙ {…c˜x…‰ ±…M……* {… Æ˙h……®… ∫¥…∞¸{… ∫…V…M… ®…x…÷π™… <∫… ¥…EÚ…∫… x…“ i… {…Æ˙ |…∂x… =`ˆ…x…‰ ±…M……* V…“¥…x… E‰Ú |… i… |… i…§…r˘ ∫…∆¥…‰n˘x…∂…“±… Æ˙S…x……EÚ…Æ˙…Â E‰Ú v™……x… ¶…“ <∫… +…‰Æ˙ ®…÷c˜x…‰ ±…M……* ™…Ω˛ {…… Æ˙Œ∫l… i…EÚ ¥…®…∂…« ∫…∆§…xv…“ ¥…S……Æ˙…Â EÚ… ®……M…« J……‰±… n‰˘i…… ΩË˛* B‰∫…‰ + ¶…∂…{i… ∫…®…™… ®…Â Ω˛®…Â "±…“±……v…Æ˙ V…M…⁄c˜“' EÚ“ ™…‰ {…∆ HÚ™……ƒ W…∞¸Æ˙ ™……n˘ Æ˙J…x…“ Ω˛…ÂM…“ - "" V…i…x…“ ®……j…… ®…Â ®…x…÷π™… ®…Æ˙i…… ΩË˛/=i…x…“ ®……j…… ®…Â +…i®…… ¶…“ ®…Æ˙i…“ ΩË˛/ V…i…x…“ ®……j…… ®…Â V…“¥…x… ®…Æ˙i…… ΩË˛/=i…x…“ ®……j…… ®…Â |…EfiÚ i… ¶…“ ®…Æ˙i…“ ΩË˛/+{…x…‰ ¥…Æ˙…‰v… E‰Ú ¥…Æ˙…‰v… ®…Â*''7

125 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

∫…∆∫……v…x… EÚ… §……‰i…±… ®…Â §…∆n˘ EÚÆ˙E‰Ú §…‰S…x…… ¥……∫i…¥… ®…Â Ω˛®……Æ˙“ ∫…∆∫EfiÚ i… {…Æ˙ +{…∫…∆∫EfiÚ i… EÚ… Ω˛∫i…I…‰{… Ω˛“ ΩË˛* C™……Â EÚ +…V… BEÚ…∆i… ∏…“¥……∫i…¥… +{…x…‰ i…“x……Â EÚ…¥™… ∫…∆EÚ±…x……Â u˘…Æ˙… <∫…EÚ… V…¥……§… |…∫i…÷i… EÚÆ˙i…‰ ΩÈ˛* =x…EÚ“ i…“x……Â Æ˙S…x……Bƒ ("+z… ΩË˛ ®…‰Æ‰˙ ®…∂…“x…“ ∫…∆∫EfiÚ i… Ω˛®……Æ‰˙ §…“S… {…x…{…i…“ ΩË˛* ∂…§n'˘, " ®…]¬ı]ı“ ∫…‰ EÚΩ⁄ƒ˛M…… v…x™…¥……n' +…ËÆ˙ "§…“V… ∫…‰ °⁄Ú±… i…EÚ') |…EfiÚ i… ∫…‰ V…÷c˜EÚÆ˙ Æ˙Ω˛x…‰¥……±…“ ΩÈ˛* =x…EÚ“ Æ˙S…x……+…Â ®…Â Ω˛®…Â {…™……«¥…Æ˙h… |…n⁄˘π…h… E‰Ú EÚ…Æ˙h… §……g¯ EÚ… |…EÚ…‰{… Ω˛…‰i…… ΩË˛* §……g¯ ∫…‰ =i{…z… ®……x…¥…“™… j……∫…n˘“ EÚ…‰ "§…∆M±……n‰˘∂…' x……®…EÚ EÚ ¥…i…… ∫…n˘… |……EfiÚ i…EÚ i……x… EÚ“ +x…÷M…⁄ƒV… ∫…÷x……<« n‰˘i…“ ΩË˛* ¥™…HÚ EÚÆ˙i…“ ΩË˛ - ""Ω˛®……Æ‰˙ P…Æ˙ ∫…®…÷p˘ ®…Â §…Ω˛ M…B/Ω˛®……Æ˙“ x……¥…Â ∫…®…÷p˘ ®…Â b⁄˜§… M…<»/Ω˛Æ˙ V…M…Ω˛/Ω˛Æ˙ V…M…Ω˛/Ω˛Æ˙ V…M…Ω˛/=°Úx… Æ˙Ω˛… ΩË˛ ∫…®…÷p˘/Ω˛®……Æ‰˙ +…ƒM…x… ®…Â ∫…®…÷p˘ EÚ… Z……M…/Ω˛®……Æ‰˙ ∫…{…x……Â ®…Â ∫…®…÷p˘ EÚ“ Æ‰˙i…/+¶……M…‰ ¥…fiI… ΩË˛ Ω˛®… §…Ω˛ M…B/ V…x…E‰Ú V…c˜˜…Â EÚ“ ∫…∆n˘¶…« O…xl… ®…]¬ı]ı“*''5 §……g¯ E‰Ú EÚ…Æ˙h… =i{…z… ¥…¶…“ π…EÚ… EÚ…‰ Ω˛®… ™…Ω˛…ƒ n‰˘J… ∫…EÚi…‰ ΩÈ˛* V…∫… |…EÚ…Æ˙ ®…]¬ı]ı“ ∫…‰ =J…c˜EÚÆ˙ ¥…fiI… EÚ… EÚ…‰<« 1. BEÚ…∆i… ∏…“¥……∫i…¥… - +z… ΩË˛ ®…‰Æ‰˙ ∂…§n˘ - {…fi. 87 +Œ∫i…i¥… x…Ω˛” Ω˛…‰i……, =∫…“ |…EÚ…Æ˙ +{…x…‰ P…Æ˙ E‰Ú =V…c˜x…‰ {…Æ˙ ®…x…÷π™… ¶…“ +Œ∫i…i¥…Ω˛“x… Ω˛…‰ V……i…… ΩË˛* <∫…“ Ω˛EÚ“EÚi… EÚ…‰ EÚ ¥… 2. ¥…Ω˛“ - ®…]¬ı]ı“ ∫…‰ EÚΩ⁄ƒ˛M…… v…x™…¥……n˘ - {…fi. 78 x…‰ ™…Ω˛…ƒ ¥™…HÚ EÚ™…… ΩË˛* §…∆M……±… ∫…‰ Ω˛…‰EÚÆ˙ §…Ω˛x…‰¥……±…“ "n˘…®……‰n˘Æ'˙ x…n˘“ EÚ…‰ "§…∆M……±… EÚ… n÷˘&J…' EÚΩ˛… V……i…… ΩË˛* <∫… x…n˘“ ®…Â 3. ¥…Ω˛“ - {…fi. 29 Ω˛…‰x…‰¥……±…‰ §……g¯ E‰Ú EÚ…Æ˙h… ¥…Ω˛…ƒ EÚ“ V…x…i…… Ω˛®…‰∂…… |……EfiÚ i…EÚ |…EÚ…‰{… EÚ… ∂…EÚ…Æ˙ §…x…i…“ ΩË˛* ™…Ω˛“ ∫…SS……<« EÚ ¥… x…‰ ™…Ω˛…ƒ |…∫i…÷i… 4. ¥…Ω˛“ - §…“V… ∫…‰ °⁄Ú±… i…EÚ - {…fi. 44 EÚ“ ΩË˛* 5. ¥…Ω˛“ - ®…]¬ı]ı“ ∫…‰ EÚΩ⁄ƒ˛M…… v…x™…¥……n˘ - {…fi. 17 {…… Æ˙Œ∫l… i…EÚ ∫……Èn˘™…«∂……∫j…, |…EfiÚ i… EÚ“ M……‰n˘ ®…Â {…±…x…‰¥……±…… ∫…Ω˛V… ®……x…¥… EÚ… ∫……Èn˘™…«§……‰v… Ω˛“ ΩË˛* B‰∫…… ®……x…¥… EÚ¶…“ ¶…“ 6. ¥…Ω˛“ - §…“V… ∫…‰ °⁄Ú±… i…EÚ - {…fi. 55 |…EfiÚ i… EÚ… n÷˘Ø˚{…™……‰M… x…Ω˛” EÚÆ‰˙M……* |……EfiÚ i…EÚ S…“W……Â ∫…‰ Ω˛“ =∫…EÚ… ±…M……¥… Ω˛…‰M……* V……x…‰-+x…V……x…‰ Ω˛“ ¥…Ω˛ |…EfiÚ i… E‰Ú ∫……Èn˘™…« ∫…‰ 7. ±…“±……v…Æ˙ V…M…⁄b˜“ - +x…÷¶…¥… E‰Ú +…EÚ…∂… ®…Â S……ƒn˘ - {…fi. 20 i……n˘…i®™… O…Ω˛h… EÚÆ˙E‰Ú Ω˛“ V…“¥…x…™……{…x… EÚÆ˙i…… ΩË˛* "P…Æ˙ EÚ“ +…‰Æ˙ ¥……{…∫…“' x……®…EÚ EÚ ¥…i…… ®…Â <∫…“ |…EÚ…Æ˙ E‰Ú EÚ ¥… EÚ®…« EÚ…‰ Ω˛®… n‰˘J… ∫…EÚi…‰ ΩÈ˛* ""§…… Æ˙∂… +… S…÷EÚ“ ΩË˛/+…ËÆ˙ M…÷±… ®……‰Ω˛Æ˙…Â ®…Â {…UÙ±…“ @Òi…÷ E‰Ú/+… J…Æ˙“ °⁄Ú±… J…±…‰ ΩÈ˛/B‰∫…‰ ®…Â/BEÚ v…÷ƒv…÷+…i…“ ∫……ƒZ… P…Æ˙ {…Ω÷ƒ˛S……/ n˘™……-§……i…“ E‰Ú §…‰Æ˙/BEÚ {…÷Æ˙…x…“ EÚΩ˛…x…“ ®…Â/±……Ë]ıx…‰ V…Ë∫…… ΩË˛*'' 6 ™…Ω˛…ƒ EÚ ¥… x…‰ x…M…Æ˙ V…“¥…x… ∫…‰ ¥……{…∫… |…EfiÚ i… EÚ“ M……‰n˘ ®…Â +…x…‰ EÚ“ S……Ω˛ |…∫i…÷i… EÚ“ ΩË˛* ±…‰ EÚx… n÷˘¶……«M™… ∫…‰ +…V… M……ƒ¥… x…Ω˛” Æ˙Ω‰˛* x…M…Æ˙“EÚÆ˙h… E‰Ú ®……Ω˛…Ë±… ®…Â ®…x…÷π™… EÚ…‰ V…“x…… {…c˜i…… ΩË˛* ™…Ω˛ BEÚ + ¶…∂…{i… Ω˛…±…i… ΩË˛* B‰∫…“ Ω˛…±…i… ∫…‰ ®…÷HÚ Ω˛…‰x…‰ E‰Ú ±…B =x…EÚ… ®…x… §…‰S…Ëx… ΩË˛* ®…x…÷π™… V…“¥…x… Ω˛“ x…Ω˛” <∫… n÷˘ x…™…… E‰Ú ∫…®…∫i… V…“¥…x… |…EfiÚ i… B¥…∆ {…… Æ˙Œ∫l… i…EÚ“ {…Æ˙ x…¶…«Æ˙ ΩÈ˛* {…… Æ˙Œ∫l… i…EÚ ¥™…¥…∫l…… E‰Ú §…M…c˜x…‰ {…Æ˙ ¶…⁄ ®… ®…Â V…“¥…x… n÷˘∫∫……v™… Ω˛…‰ V……BM……* <∫…“ ¥……∫i… ¥…EÚi…… EÚ“ +…‰Æ˙ EÚ ¥… x…‰ ™…Ω˛…ƒ V…x…i…… EÚ…‰ +…M……Ω˛ EÚ™…… ΩË˛* +…v…÷ x…EÚ ∫…¶™…i…… {…™……«¥…Æ˙h… ∫…∆i…÷±…x… EÚ…‰ +C∫…Æ˙ +x…n‰˘J…… EÚÆ˙E‰Ú +… Æ˙Ω˛“ ΩË˛* {… Æ˙h……®… ∫¥…∞¸{… {…… Æ˙Œ∫l… i…EÚ ∫…n˘…S……Æ˙ M……™…§… Ω˛…‰x…‰ ±…M……* v…“Æ‰˙-v…“Æ‰˙ +…v…÷ x…EÚ ∫…¶™…i…… E‰Ú E‰Úxp˘ ®…Â +…Ët…‰M…“EÚÆ˙h… V…M…Ω˛ V…®……x…‰ ±…M…… +…ËÆ˙ {…… Æ˙Œ∫l… i…EÚ i…∆j… {…Æ˙ M…∆¶…“Æ˙ +…P……i… {…Ω⁄ƒ˛S……x…‰ ±…M……* V…“¥…x… +…ËÆ˙ V…“x…‰ E‰Ú ¥……i……¥…Æ˙h… {…Æ˙ ¶…“ =∫…EÚ… M…∆¶…“Æ˙ +∫…Æ˙ {…c˜x…‰ ±…M……* {… Æ˙h……®… ∫¥…∞¸{… ∫…V…M… ®…x…÷π™… <∫… ¥…EÚ…∫… x…“ i… {…Æ˙ |…∂x… =`ˆ…x…‰ ±…M……* V…“¥…x… E‰Ú |… i… |… i…§…r˘ ∫…∆¥…‰n˘x…∂…“±… Æ˙S…x……EÚ…Æ˙…Â E‰Ú v™……x… ¶…“ <∫… +…‰Æ˙ ®…÷c˜x…‰ ±…M……* ™…Ω˛ {…… Æ˙Œ∫l… i…EÚ ¥…®…∂…« ∫…∆§…xv…“ ¥…S……Æ˙…Â EÚ… ®……M…« J……‰±… n‰˘i…… ΩË˛* B‰∫…‰ + ¶…∂…{i… ∫…®…™… ®…Â Ω˛®…Â "±…“±……v…Æ˙ V…M…⁄c˜“' EÚ“ ™…‰ {…∆ HÚ™……ƒ W…∞¸Æ˙ ™……n˘ Æ˙J…x…“ Ω˛…ÂM…“ - "" V…i…x…“ ®……j…… ®…Â ®…x…÷π™… ®…Æ˙i…… ΩË˛/=i…x…“ ®……j…… ®…Â +…i®…… ¶…“ ®…Æ˙i…“ ΩË˛/ V…i…x…“ ®……j…… ®…Â V…“¥…x… ®…Æ˙i…… ΩË˛/=i…x…“ ®……j…… ®…Â |…EfiÚ i… ¶…“ ®…Æ˙i…“ ΩË˛/+{…x…‰ ¥…Æ˙…‰v… E‰Ú ¥…Æ˙…‰v… ®…Â*''7

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127 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

|…n⁄˘π…h… ΩË˛ V……‰ ¥…i…«®……x… n˘…ËÆ˙ ®…Â x… E‰Ú¥…±… ®…x…÷π™… ∫… Ω˛i… |……h…“-V…M…i…¬ E‰Ú ¶… ¥…π™… EÚ…‰ ∂…∆EÚ…E÷Ú±… +…ËÆ˙ S…÷x……Ëi…“-{…⁄h…« §…x……i…… V…… Æ˙Ω˛… ΩË˛ §…Œ±EÚ {…ﬁl¥…“ EÚ“ +Œ∫®…i…… EÚ…‰ ¶…“ J…i…Æ˙…Â ∫…‰ ¶…Æ˙“ §…x……i…… V…… Æ˙Ω˛… ΩË˛* ™…Ω˛ x……]ıEÚ ∫…°«Ú ¥…i…«®……x… {…Æ˙ E‰ÚŒxp˘i… x…Ω˛” ΩË˛ §…Œ±EÚ ¶… ¥…π™… E‰Ú §……Æ‰˙ ®…Â E÷ÚUÙ `ˆ…‰∫… ∫…∆E‰Úi… ¶…“ n‰˘i…… ΩË˛* ®…∂…“x…“EÚÆ˙h… +…ËÆ˙ |……Ët…‰M…“EÚÆ˙h… EÚ“ §…f¯i…“ M… i… E‰Ú ∫…®……x……xi…Æ˙ ™…… =∫…∫…‰ §…f¯EÚÆ˙ {…… Æ˙Œ∫l… i…EÚ |…n⁄˘π…h… EÚ… §…f¯i…… EÚn®… ®……x…¥…- x…™… i… EÚ…‰ EËÚ∫…‰ +∆v…EÚ…Æ˙ {…⁄h…« §…x……i…… V…… Æ˙Ω˛… ΩË˛, <∫…EÚ“ + ¶…¥™… HÚ 20 <∫… x……]ıEÚ ®…Â ΩË˛* ¥…b∆˜§…x…… ™…Ω˛ ΩË˛ EÚ {…… Æ˙Œ∫l… i…EÚ +∫…∆i…÷±…x… ®…Â |…n⁄˘π…h… E‰Ú ¥……Ω˛EÚ x…™…“-x…™…“ ¥…ËY…… x…EÚ ¥… |……Ët…‰ M…EÚ ={…±…Œ§v…™……Â EÚ… |…¥…‰∂… Ω˛®……Æ‰˙ nË˘ x…EÚ V…“¥…x… ®…Â i…‰W… Æ˙}i……Æ˙ ∫…‰ Ω˛…‰ Æ˙Ω˛… ΩË˛ =n˘…Ω˛Æ˙h…-

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Ω˛…‰i…… ΩË˛ °ÚÆ˙ ¶…“ =∫…‰ ∫……°Ú EÚÆ˙E‰Ú +…`ˆ |… i…∂…i… +…ËÆ˙ EÚ®… EÚÆ˙x…‰ E‰Ú §……n˘ Ω˛“ §…V…±…“P…Æ˙…Â ®…Â ¶…‰V…… V……i…… ΩË˛* =∫…EÚ“ Æ˙…™… ®…Â ¥…EÚ…∫……“±… n‰˘∂……Â EÚ… EÚ…‰™…±…… ¶…“ ¥…EÚ…∫…∂…“±… ΩË˛ V…§… EÚ Ω˛®……Æ‰˙ ™…Ω˛…ƒ EÚ…‰™…±…‰ EÚ“ ∫…Ω˛“ ∫…°Ú…<« x… Ω˛…‰x…‰ E‰Ú EÚ…Æ˙h… ¥…Ω˛ |…n⁄˘π…h…{…Æ˙EÚ §…x… V……i…… ΩË˛* V…∫… |…EÚ…Æ˙ "{…Ω˛±…… Æ˙…V……' ®…Â EÚ¥…π… v…Æ˙i…“ E‰Ú n˘…‰Ω˛x… E‰Ú ∫…xn˘¶…« ®…Â EÚΩ˛i…… ΩË˛ EÚ {…fil¥…“ ∫…‰ ®……j… E÷ÚUÙ ±…‰x…… x…Ω˛” ΩË˛ §…Œ±EÚ E÷ÚUÙ ¥……{…∫… n‰˘x…… ¶…“ ΩË˛ `ˆ“EÚ =∫…“ |…EÚ…Æ˙ ®…x……‰Ω˛Æ˙ BEÚ ®…Ω˛i¥…{…⁄h…« i…l™… EÚ“ +…‰Æ˙ <∂……Æ˙… EÚÆ˙i…… ΩË˛ EÚ |…EfiÚ i… EÚ… +M…Æ˙ Ω˛®… ∫…°«Ú <∫i…‰®……±… Ω˛“ EÚÆ˙i…‰ Æ˙Ω∆‰˛ +…ËÆ˙ ∫…∆i…÷±…x… E‰Ú ±…B =∫…‰ ¥……{…∫… x…Ω˛“ EÚÆÂ˙ i……‰ ¥…Ω˛ ¶…“ `ˆ{{… Ω˛…‰EÚÆ˙ +{…x…“ x……Æ˙…W…M…“ n˘J……i…“ ΩË˛* {…™……«¥…Æ˙h… BEÚ ®…∂…“x… ΩË˛ =∫…‰ S…÷∫i…-n÷˘Ø˚∫i… Æ˙J…x…‰ E‰Ú ±…B =∫…EÚ… Æ˙J…-Æ˙J……¥… EÚÆ˙x…… {…b˜i…… ΩË˛* x……]ıEÚEÚ…Æ˙ x…‰ ¶…⁄ ®…EÚ… ®…Â <∫…“ i…l™… EÚ…‰ i… x…EÚ EÚ…¥™……i®…EÚ f∆¯M… ®…Â ™……Â + ¶…¥™…HÚ EÚ™…… ΩË˛ EÚ W…Æ˙… v™……x… n˘™…… V……i…… i……‰ §…x…… |…n⁄˘π…h… E‰Ú, EÚ…±…‰ EÚ…‰™…±…‰ ®…Â ∫…®……™…“ >V……«, {……+Æ˙ Ω˛…=∫… ∫…‰ Ω˛…‰i…“ Ω÷˛<« ={…¶……‰HÚ…+…Â E‰Ú P…Æ˙ ®…Â =V…±…… Ω∆˛∫… §…x…EÚÆ˙ {…Ω⁄ƒ˛S…‰M…“ +…ËÆ˙ {…™……«¥…Æ˙h…-∫…∆i…÷±…x… ¶…“ §…x…… Æ˙Ω‰˛M……* x…™…“ {…“g¯“ E‰Ú |…EÚ…∂… E‰Ú §…Ω˛…x…‰ x……]ıEÚEÚ…Æ˙ Æ˙…J… ∫…‰ Ω˛…‰x…‰¥……±…‰ |…n⁄˘π…h… ∫…‰ §…S…x…‰ E‰Ú ±…B ¥™……¥…Ω˛… Æ˙EÚ Æ˙…∫i…… x…EÚ…±…i…‰ ΩÈ˛ EÚ Æ˙…J… EÚ…‰ {…fil¥…“ E‰Ú ¥…∂……±… M…b¬˜b‰˜ ®…Â ¶…Æ˙ n‰˘x…… ΩË˛, V……‰ EÚ…‰™…±…… x…EÚ…±…x…‰ ∫…‰ §…x…… Ω÷˛+… ΩË˛ +l……«i…¬ {…fil¥…“ EÚ“ ∫…∆{…n˘… {…fil¥…“ EÚ…‰ Ω˛“ ¥……{…∫… EÚÆ˙ n‰˘x…… ΩË˛* {…… Æ˙Œ∫l… i…EÚ ∫…∆n˘¶…« ®…Â, ∫…∂…HÚ ∫…∆E‰Úi……Â E‰Ú §……¥…V…⁄n˘ |…∫i…÷i… x……]ıEÚ EÚ…‰ x……]ı¨ v…Ã®…i…… EÚ“ ΩË˛ ∫…™…i… ∫…‰ {…Æ˙J…i…‰ ¥…HÚ =i…x…“ ∫…°Ú±…i…… x…Ω˛” n˘J……™…“ n‰˘i…“ ΩË˛* x……]ıEÚ“™… i…i¥……Â E‰Ú f¯“±…‰ {…b˜ V……x…‰ ∫…‰ ∫…∆¥……n˘ EÚ<« V…M…Ω˛…Â ®…Â ¥…HÚ¥™… ®……j… Æ˙Ω˛ M…™…‰ ΩÈ˛* x……]ıEÚ E‰Ú |……Æ∆˙¶… ®…Â x……]ıEÚEÚ…Æ˙ x…‰ ∫¥…™…∆ ∫¥…“EÚ…Æ…˙ ΩË˛ EÚ ™…Ω˛ x……]ıEÚ BEÚ ±…‰J…EÚ EÚ“ EÚ±……i®…EÚ V……M…∞¸EÚi…… EÚ“ ={…V… =i…x…“ x…Ω˛” ΩË˛ V…i…x…“ BEÚ ∫…∆¥…‰n˘x…∂…“±… ¥™… HÚi¥… EÚ“ +{…x…“ {… Æ˙¥…‰∂… E‰Ú |… i… V……M…∞¸EÚi…… EÚ“ ={…V… ΩË˛* |…∫i…÷i… ∫¥…“EÚ…Æ˙…‰ HÚ x……]ıEÚEÚ…Æ˙ E‰Ú EÚ…‰™…±……-J…n˘…x……∆‰ +…ËÆ˙ l…®…«±… {……+Æ˙ {±……x]ı E‰Ú +x…÷¶…¥……Â ∫…‰ =n¬˘¶…⁄i… ΩË˛ <∫… ±…B + v…EÚ ∫…∆M…i… ¶…“ ±…M…i…“ ΩË˛* ™…Ω˛…ƒ S…S……« E‰Ú ±…B V…x… x……]ıEÚ…Â EÚ…‰ S…÷x…… M…™…… ΩË˛, =x…®…Â n⁄˘∫…Æ˙… ΩË˛ ¥…V…‰xp˘ EÚ… EÚ…¥™… x……]ıEÚ 'GÚ…ÂS… ¥…v…'* ™…Ω˛ x……]ıEÚ {…⁄h…«i…& {…… Æ˙Œ∫l… i…EÚ“ {…Æ˙ E‰ÚŒxp˘i… x… Ω˛…‰i…‰ Ω÷˛B ¶…“ ¥…i…«®……x… {…… Æ˙Œ∫l… i…EÚ S…xi…x… EÚ…‰ =¥…«Æ˙ §…x……x…‰¥……±…‰ E÷ÚUÙ `ˆ…‰∫… ∫…∆E‰Úi… <∫…®…Â ®…±…i…‰ ΩÈ˛* ¥…V…‰xp˘ x…‰ ®……j… +{…x…“ {…… Æ˙Œ∫l… i…EÚ ∫…V…M…i…… EÚ…‰ Ω˛“ x…Ω˛” §…Œ±EÚ ¥…i…«®……x… +…Ë{… x…¥…‰ ∂…EÚ ∫…¶™…i…… ∫…‰ ={…¶……‰M…¥……n˘“ V…“¥…x…-S…™……« E‰Ú EÚ…Æ˙h… {…… Æ˙Œ∫l… i…EÚ ∫…∆i…÷±…x… EÚ…‰ §…M……b˜x…‰¥……±…“ i……EÚi……Â EÚ“ +…‰Æ˙ ¶…“ ∫{…π]ı ∫…∆E‰Úi… n˘™…… ΩË˛* "GÚ…ÂS… ¥…v…' EÚ… +…v……Æ˙ ¥……±®…“ EÚ E‰Ú x…π……n˘-∂……{… ∫…‰ ∫…∆§…Œxv…i… {…÷Æ˙…h… EÚl…… ΩË˛* V…§… ¥……±…®…“ EÚ x…π……n˘…Â u˘…Æ˙… V…∆M…±…“ ∫…∆{…n˘… E‰Ú ±…⁄]ı V……x…‰ EÚ… + ¶…™……‰M… n‰˘i…‰ ΩÈ˛ i……‰ x…π……n˘ u˘…Æ˙… =∫…EÚ… V…¥……§… {…… Æ˙Œ∫l… i…EÚ ∂……‰π…h… E‰Ú ¥…i…«®……x… ¶…⁄®…∆b˜±…“EfiÚi… §…“¶…i∫… ∫¥…∞¸{… EÚ“ +…‰Æ˙ <∂……Æ˙… EÚÆ˙i…… ΩË˛- ""J……>ƒ C™…… ? {…‰]ı ¶…∞ƒ¸ §…SS……Â EÚ… EËÚ∫…‰... §……ƒ∫… E‰Ú P…x…‰ ¥…x… EÚ…]ıEÚÆ˙ v…Æ˙i…“ V……‰ EÚ®……i…… Ω⁄ƒ˛ Ω˛b˜{…i…‰ ΩÈ˛ §…b˜¶……M…“- ®…Ω˛…Æ˙…V… E‰Ú +…n˘®…“ +z… EÚΩ⁄ƒ˛ {…Ën˘… i……‰ EËÚ∫…‰?'' {…fi.77

129 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

Ω˛…‰i…… ΩË˛ °ÚÆ˙ ¶…“ =∫…‰ ∫……°Ú EÚÆ˙E‰Ú +…`ˆ |… i…∂…i… +…ËÆ˙ EÚ®… EÚÆ˙x…‰ E‰Ú §……n˘ Ω˛“ §…V…±…“P…Æ˙…Â ®…Â ¶…‰V…… V……i…… ΩË˛* =∫…EÚ“ Æ˙…™… ®…Â v™……x… n‰˘x…‰ ™……‰M™… §……i… ™…Ω˛ ΩË˛ EÚ x…π……n˘ V…∆M…±… EÚ… ∂……‰π…h… x…Ω˛” EÚÆ˙i……, §…Œ±EÚ =∫…EÚ…‰ n÷˘Ω˛i…… ΩË˛* ®…x…÷π™… §…b˜“ Ω˛n˘ i…EÚ ¥…EÚ…∫……“±… n‰˘∂……Â EÚ… EÚ…‰™…±…… ¶…“ ¥…EÚ…∫…∂…“±… ΩË˛ V…§… EÚ Ω˛®……Æ‰˙ ™…Ω˛…ƒ EÚ…‰™…±…‰ EÚ“ ∫…Ω˛“ ∫…°Ú…<« x… Ω˛…‰x…‰ E‰Ú EÚ…Æ˙h… ¥…Ω˛ |…EfiÚ i… {…Æ˙ +… ∏…i… Ω˛…‰x…‰ E‰Ú x……i…‰ |…EfiÚ i… EÚ… +…∆ ∂…EÚ ∞¸{… ∫…‰ ={…™……‰M… EÚÆ˙i…… Ω˛“ Æ˙Ω˛i…… ΩË˛* ±…‰ EÚx… ™…Ω˛ |… GÚ™…… ®……j… +{…x…“ |…n⁄˘π…h…{…Æ˙EÚ §…x… V……i…… ΩË˛* +Œ∫®…i…… EÚ…‰ §…x……™…‰ Æ˙J…x…‰ E‰Ú ±…B ∫…§…∫…‰ UÙ…‰]ı“ ®……j…… ®…Â |…EfiÚ i… EÚ…‰ n÷˘Ω˛x…… Ω˛“ ΩË˛* <∫… ±…B GÚ…ÈS…¥…v… ®…Â n˘ ±…i……Â E‰Ú u˘…Æ˙… V…∫… |…EÚ…Æ˙ "{…Ω˛±…… Æ˙…V……' ®…Â EÚ¥…π… v…Æ˙i…“ E‰Ú n˘…‰Ω˛x… E‰Ú ∫…xn˘¶…« ®…Â EÚΩ˛i…… ΩË˛ EÚ {…fil¥…“ ∫…‰ ®……j… E÷ÚUÙ ±…‰x…… x…Ω˛” ΩË˛ §…Œ±EÚ Ω˛…‰x…‰¥……±…‰ ¥…x…-={…¶……‰M… EÚ…‰ x™……™…-∫…∆M…i… §…i……™…… M…™…… ΩË˛* ±…‰ EÚx… {… Æ˙Œ∫l… i… EÚ… ∂……‰π…h… V…§… ={…¶……‰M…¥……n˘“ o˘Œπ]ı ∫…‰ BEÚ{…I…“™… E÷ÚUÙ ¥……{…∫… n‰˘x…… ¶…“ ΩË˛ `ˆ“EÚ =∫…“ |…EÚ…Æ˙ ®…x……‰Ω˛Æ˙ BEÚ ®…Ω˛i¥…{…⁄h…« i…l™… EÚ“ +…‰Æ˙ <∂……Æ˙… EÚÆ˙i…… ΩË˛ EÚ |…EfiÚ i… EÚ… +M…Æ˙ Ω˛®… f∆¯M… ∫…‰ ∫…÷J…±……‰±…÷{…i…… E‰Ú ±…B EÚ™…… V……i…… ΩË˛, i……‰ ¥…Ω˛ ¥…x……∂…EÚ…Æ˙“ Ω˛“ x…Ω˛” +®……x…¥…“™… ¶…“ `ˆΩ˛Æ˙… V……i…… ΩË˛* ¥…V…‰xp˘ x…‰ x…π……n˘ ∫…°«Ú <∫i…‰®……±… Ω˛“ EÚÆ˙i…‰ Æ˙Ω∆‰˛ +…ËÆ˙ ∫…∆i…÷±…x… E‰Ú ±…B =∫…‰ ¥……{…∫… x…Ω˛“ EÚÆÂ˙ i……‰ ¥…Ω˛ ¶…“ `ˆ{{… Ω˛…‰EÚÆ˙ +{…x…“ x……Æ˙…W…M…“ n˘J……i…“ E‰Ú |… i… |…∂x… E‰Ú u˘…Æ˙… {…… Æ˙Œ∫l… i…EÚ ∂……‰π…h… EÚ“ <∫… ¥…EÚÆ˙…±… |… GÚ™…… EÚ…‰ =V……M…Æ˙ EÚ™…… ΩË˛* ¥…Ω˛ ¥……±®…“ EÚ ∫…‰ ™……Â {…⁄UÙi…… ΩË˛- ΩË˛* {…™……«¥…Æ˙h… BEÚ ®…∂…“x… ΩË˛ =∫…‰ S…÷∫i…-n÷˘Ø˚∫i… Æ˙J…x…‰ E‰Ú ±…B =∫…EÚ… Æ˙J…-Æ˙J……¥… EÚÆ˙x…… {…b˜i…… ΩË˛* ""™… n˘ ®…È {……{…“ n÷˘Æ˙…S……Æ˙“ Ω⁄ƒ˛Ë˛ x……]ıEÚEÚ…Æ˙ x…‰ ¶…⁄ ®…EÚ… ®…Â <∫…“ i…l™… EÚ…‰ i… x…EÚ EÚ…¥™……i®…EÚ f∆¯M… ®…Â ™……Â + ¶…¥™…HÚ EÚ™…… ΩË˛ EÚ W…Æ˙… v™……x… n˘™…… V……i…… +…J…‰]ı EÚÆ˙x…‰ ∫…‰ i……‰ §…x…… |…n⁄˘π…h… E‰Ú, EÚ…±…‰ EÚ…‰™…±…‰ ®…Â ∫…®……™…“ >V……«, {……+Æ˙ Ω˛…=∫… ∫…‰ Ω˛…‰i…“ Ω÷˛<« ={…¶……‰HÚ…+…Â E‰Ú P…Æ˙ ®…Â =V…±…… Ω∆˛∫… §…x…EÚÆ˙ i……‰ Æ˙…V…… +…ËÆ˙ |…¶…÷+…Â EÚ…‰ ¶…“ i……‰ EÚΩ˛…‰ B‰∫…… {…Ω⁄ƒ˛S…‰M…“ +…ËÆ˙ {…™……«¥…Æ˙h…-∫…∆i…÷±…x… ¶…“ §…x…… Æ˙Ω‰˛M……* x…™…“ {…“g¯“ E‰Ú |…EÚ…∂… E‰Ú §…Ω˛…x…‰ x……]ıEÚEÚ…Æ˙ Æ˙…J… ∫…‰ Ω˛…‰x…‰¥……±…‰ |…n⁄˘π…h… ∫…‰ ¥…‰ ¶…“ i……‰ ΩÈ˛ n÷˘π]ı, {……{…“ +…ËÆ˙ n÷˘Æ˙…S……Æ˙“ §…S…x…‰ E‰Ú ±…B ¥™……¥…Ω˛… Æ˙EÚ Æ˙…∫i…… x…EÚ…±…i…‰ ΩÈ˛ EÚ Æ˙…J… EÚ…‰ {…fil¥…“ E‰Ú ¥…∂……±… M…b¬˜b‰˜ ®…Â ¶…Æ˙ n‰˘x…… ΩË˛, V……‰ EÚ…‰™…±…… x…EÚ…±…x…‰ EÚÆ˙i…‰ ΩÈ˛ ¥…x… ®…Â +…J…‰]ı ¶……Æ˙“*'' {…fi. 71 ∫…‰ §…x…… Ω÷˛+… ΩË˛ +l……«i…¬ {…fil¥…“ EÚ“ ∫…∆{…n˘… {…fil¥…“ EÚ…‰ Ω˛“ ¥……{…∫… EÚÆ˙ n‰˘x…… ΩË˛* . . . . . {…… Æ˙Œ∫l… i…EÚ ∫…∆n˘¶…« ®…Â, ∫…∂…HÚ ∫…∆E‰Úi……Â E‰Ú §……¥…V…⁄n˘ |…∫i…÷i… x……]ıEÚ EÚ…‰ x……]ı¨ v…Ã®…i…… EÚ“ ΩË˛ ∫…™…i… ∫…‰ {…Æ˙J…i…‰ ¥…HÚ =i…x…“ ""C™……Â @Ò π…n‰˘¥…! ∫…°Ú±…i…… x…Ω˛” n˘J……™…“ n‰˘i…“ ΩË˛* x……]ıEÚ“™… i…i¥……Â E‰Ú f¯“±…‰ {…b˜ V……x…‰ ∫…‰ ∫…∆¥……n˘ EÚ<« V…M…Ω˛…Â ®…Â ¥…HÚ¥™… ®……j… Æ˙Ω˛ M…™…‰ ΩÈ˛* x……]ıEÚ |…¶…÷ +…ËÆ˙ ®…Ω˛…Æ˙…V… EÚÆ˙i…‰ ∫…n˘… +…J…‰]ı ®…x…§…Ω˛±……¥… E‰Ú |……Æ∆˙¶… ®…Â x……]ıEÚEÚ…Æ˙ x…‰ ∫¥…™…∆ ∫¥…“EÚ…Æ…˙ ΩË˛ EÚ ™…Ω˛ x……]ıEÚ BEÚ ±…‰J…EÚ EÚ“ EÚ±……i®…EÚ V……M…∞¸EÚi…… EÚ“ ={…V… =i…x…“ x…Ω˛” ΩË˛ +{…x…‰ ®…x……‰Æ∆˙V…x… E‰Ú ±…B ®……Æ˙i…‰ ΩÈ˛ {…∂…÷+…Â EÚ…‰ V…i…x…“ BEÚ ∫…∆¥…‰n˘x…∂…“±… ¥™… HÚi¥… EÚ“ +{…x…“ {… Æ˙¥…‰∂… E‰Ú |… i… V……M…∞¸EÚi…… EÚ“ ={…V… ΩË˛* |…∫i…÷i… ∫¥…“EÚ…Æ˙…‰ HÚ x……]ıEÚEÚ…Æ˙ E‰Ú Ω˛®……Æ‰˙ ¥…x……Â ®…Â ®……Æ˙i…‰ ΩÈ˛ Ω˛Æ˙x……Â EÚ…‰, {… I…™……Â EÚ…‰ EÚ…‰™…±……-J…n˘…x……∆‰ +…ËÆ˙ l…®…«±… {……+Æ˙ {±……x]ı E‰Ú +x…÷¶…¥……Â ∫…‰ =n¬˘¶…⁄i… ΩË˛ <∫… ±…B + v…EÚ ∫…∆M…i… ¶…“ ±…M…i…“ ΩË˛* +…ËÆ˙ M…÷Ω˛…¶……±…÷+…Â EÚ…‰- ™…Ω˛…ƒ S…S……« E‰Ú ±…B V…x… x……]ıEÚ…Â EÚ…‰ S…÷x…… M…™…… ΩË˛, =x…®…Â n⁄˘∫…Æ˙… ΩË˛ ¥…V…‰xp˘ EÚ… EÚ…¥™… x……]ıEÚ 'GÚ…ÂS… ¥…v…'* ™…Ω˛ x……]ıEÚ C™…… ¥…Ω˛ x…Ω˛” ΩË˛ {……{…? {…⁄h…«i…& {…… Æ˙Œ∫l… i…EÚ“ {…Æ˙ E‰ÚŒxp˘i… x… Ω˛…‰i…‰ Ω÷˛B ¶…“ ¥…i…«®……x… {…… Æ˙Œ∫l… i…EÚ S…xi…x… EÚ…‰ =¥…«Æ˙ §…x……x…‰¥……±…‰ E÷ÚUÙ `ˆ…‰∫… ∫…∆E‰Úi… <∫…®…Â x…Ω˛” ΩË˛ C™…… ÀΩ˛∫……? ®…±…i…‰ ΩÈ˛* ¥…V…‰xp˘ x…‰ ®……j… +{…x…“ {…… Æ˙Œ∫l… i…EÚ ∫…V…M…i…… EÚ…‰ Ω˛“ x…Ω˛” §…Œ±EÚ ¥…i…«®……x… +…Ë{… x…¥…‰ ∂…EÚ ∫…¶™…i…… ∫…‰ ={…¶……‰M…¥……n˘“ C™……Â x…Ω˛” n‰˘J… {……i…‰ =∫…‰ +…{…?'' {…fi. 72 V…“¥…x…-S…™……« E‰Ú EÚ…Æ˙h… {…… Æ˙Œ∫l… i…EÚ ∫…∆i…÷±…x… EÚ…‰ §…M……b˜x…‰¥……±…“ i……EÚi……Â EÚ“ +…‰Æ˙ ¶…“ ∫{…π]ı ∫…∆E‰Úi… n˘™…… ΩË˛* ™…Ω˛…ƒ x…π……n˘ E‰Ú ®……v™…®… ∫…‰ EÚ ¥… EÚ… Ω˛®…±…… =∫… ∫…÷ ¥…v……-¶……‰M…“ ¥…M…« EÚ“ =∫… ={…¶……‰M…¥……n˘“ ®……x… ∫…EÚi…… {…Æ˙ ΩË˛ V…∫…®…Â n⁄˘∫…Æ‰˙ "GÚ…ÂS… ¥…v…' EÚ… +…v……Æ˙ ¥……±®…“ EÚ E‰Ú x…π……n˘-∂……{… ∫…‰ ∫…∆§…Œxv…i… {…÷Æ˙…h… EÚl…… ΩË˛* V…§… ¥……±…®…“ EÚ x…π……n˘…Â u˘…Æ˙… V…∆M…±…“ EÚ<« {…Ω˛±…÷+…Â E‰Ú ∫…®……x… {… Æ˙Œ∫l… i… ¶…“ ¶……‰M… ¥…∫i…÷+…Â ®…Â BEÚ ΩË˛* ∫…∆{…n˘… E‰Ú ±…⁄]ı V……x…‰ EÚ… + ¶…™……‰M… n‰˘i…‰ ΩÈ˛ i……‰ x…π……n˘ u˘…Æ˙… =∫…EÚ… V…¥……§… {…… Æ˙Œ∫l… i…EÚ ∂……‰π…h… E‰Ú ¥…i…«®……x… ¶…⁄®…∆b˜±…“EfiÚi… n˘x…-§…- n˘x… +{…x…‰ EÚ…‰ ∂…… ®…±… EÚÆ˙i…‰ Ω÷˛B ¶…“ {…… Æ˙Œ∫l… i…EÚ +∫…∆i…÷±…x… E‰Ú EÚ∫…“ ∫……®……x™… ={…GÚ®… EÚ…‰ ®… Ω˛®……-®…∆ b˜˛i… §…“¶…i∫… ∫¥…∞¸{… EÚ“ +…‰Æ˙ <∂……Æ˙… EÚÆ˙i…… ΩË˛- EÚÆ˙i…‰ Ω÷˛B +{…x…“ EÚÆ˙i…⁄i……Â {…Æ˙ {…n˘…« b˜…±…x…‰¥……±…‰ ∫…÷ ¥…v……¶……‰M…“ ¥…M…« EÚ“ n˘…‰Ω˛Æ˙“ ®……x… ∫…EÚi…… EÚ… {…n˘…«°Ú…∂… ¶…“ x…π……n˘ E‰Ú |…∂x… E‰Ú ""J……>ƒ C™…… ? {…‰]ı ¶…∞ƒ¸ §…SS……Â EÚ… EËÚ∫…‰... u˘…Æ˙… EÚ ¥… x…‰ EÚ™…… ΩË˛* x…π……n˘ ™……Â {…⁄UÙi…… ΩË˛- §……ƒ∫… E‰Ú P…x…‰ ¥…x… EÚ…]ıEÚÆ˙ ""ÀΩ˛∫…… EÚ…‰ ∫…®…Z…… ΩË˛ v…Æ˙i…“ V……‰ EÚ®……i…… Ω⁄ƒ˛ +{…x…‰ Ω˛i… ®…Â +…{…x…‰ Ω˛b˜{…i…‰ ΩÈ˛ §…b˜¶……M…“- ®…Ω˛…Æ˙…V… E‰Ú +…n˘®…“ §…UÙ…i…‰ ΩÈ˛ Ω˛Æ˙x… EÚ“ J……±… +z… EÚΩ⁄ƒ˛ {…Ën˘… i……‰ EËÚ∫…‰?'' {…fi.77 ®……ƒM…i…‰ ΩÈ˛ =J…b˜¥……EÚÆ˙

129 130 Ecoaesthetics and Literature

i……W…… E÷Ú∂…, ∂…π™……Â ∫…‰ °⁄Ú±… +…ËÆ˙ §…‰±…-{…j… J……‰n˘i…‰ ΩÈ˛ EÚxn˘®…⁄±… {…Æ˙ EÚ…‰<« x…Ω˛” EÚΩ˛i…… ™…Ω˛ ÀΩ˛∫…… ΩË˛ Ω˛®… i……‰bÂ˜ BEÚ ]ıΩ˛x…“ ¶…“ i……‰ EÚΩ‰˛ V……i…‰ +{…Æ˙…v…“ C™…… EÚÆÂ˙ ... <∫… x™……™… EÚ… EÚ…Ëx… §…i……™…‰ <∫… §……i… EÚ…‰ ∫…®…Z…‰ +x™……™… EÚ…‰*'' {…fi. 84 {…⁄Æ˙“ i…Æ˙Ω˛ ∂……‰π…h…-i…∆j… ∫…‰ V…÷b‰˜ Æ˙Ω˛i…‰ Ω÷˛B ¶…“ ∫……®…… V…EÚ Ω˛i… +…ËÆ˙ + Ω˛i… EÚ“ +{…x…“ ®…x…®……x…“ ¥™……J™…… ™…… x…v……«Æ˙h… EÚÆ˙x…‰¥……±…“ i……EÚi……Â {…Æ˙ ™…Ω˛…ƒ EÚÆ˙…Æ˙… ¥™…∆∆M™… EÚ™…… M…™…… ΩË˛* ™…t {… |…∫i…÷i… Æ˙S…x…… ®…Â ¥……±®…“ EÚ ={…™…÷«HÚ ∫…÷ ¥…v……¶……‰M…“ ®……x… ∫…EÚi…… EÚ“ ={…V… ΩË˛ i…l…… {… {…… Æ˙Œ∫l… i…EÚ ¥…®…∂…« EÚ“ o˘Œπ]ı ∫…‰ ¥……±®…“ EÚ EÚ… BEÚ EÚl…x… +¥…∂™… ¥…i…«®……x… {…… Æ˙Œ∫l… i…EÚ +¥…§……‰v… E‰Ú ∫…xn˘¶…« ®…Â ®…Ω˛i¥… Æ˙J…x…‰¥……±…… ΩË˛* x…π……n˘ E‰Ú i…EÚ…Á EÚ… =k…Æ˙ BEÚ ∫…xn˘¶…« ®…Â ¥……±®…“ EÚ <∫… |…EÚ…Æ˙ n‰˘i…… ΩË˛ - "¶…⁄J… i……‰ ∫…i™… ΩË˛ V…“¥…x… EÚ… {…Æ˙ ÀΩ˛∫…… ∫…®……v……x… x…Ω˛” =∫…EÚ… {…∂…÷, {…I…“ +…ËÆ˙ ¥…x… ¶…“ i……‰ +∆M… Ω∆Ë˛ =∫…“ ¥…Æ˙…]ı E‰Ú V…∫…∫…‰ V…x…®…… ΩË˛ ®…x…÷π™… ÀΩ˛∫…… Ω˛“ ∫…§…∫…‰ +v…®… EÚ®…« ΩË˛ ®…x…÷π™… EÚ…*' {…fi. 76 "ÀΩª… {…∂…÷ ¶…“ +∆M… ΩÈ˛ Ω˛®……Æ‰˙ {… Æ˙¥…‰∂… E‰Ú W…∞¸Æ˙“ ΩË˛ =x…EÚ… V…“x…… §…x……™…‰ Æ˙J…x…‰ EÚ…‰ ∫…xi…÷±…x… x…∫…M…« EÚ…'' {…fi. 77 <∫… EfiÚ i… ®…Â ¥……±®…“ EÚ E‰Ú ∫…÷ ¥…v……¶……‰M…“ ∂……‰π…EÚ-¥™… HÚi¥… E‰Ú Æ˙Ω˛i…‰ Ω÷˛B ¶…“ =∫…E‰Ú V…¥……§… ®…Â M…Ω˛x… {…… Æ˙Œ∫l… i…EÚ S…i…∆x… E‰Ú ∫…∆∫{…∂…« ∫{…π]ı n˘J……<« n‰˘i…‰ ΩÈ˛* <∫… ∫…xn˘¶…« ®…Â +…V…EÚ±… E‰ÚÆ˙±… E‰Ú EÚ<« <±……EÚ…Â ®…Â +EÚ∫…Æ˙ P… ]ıi… Ω˛…‰x…‰¥……±…“ P…]ıx……Bƒ ™……n˘ +…i…“ Ω∆Ë˛* V…∆M…±…“ Ω˛… l…™……Â +…ËÆ˙ §……P……Â EÚ… V…∆M…±……Â ∫…‰ x…EÚ±…EÚÆ˙ ®…x…÷π™……Â E‰Ú ¥……∫…-∫l……x… ®…Â +…x…… +…ËÆ˙ Ω˛®…Â EÚ<« |…EÚ…Æ˙ EÚ“ I… i…™……ƒ {…Ω⁄ƒ˛S……x…… +…V… ∫…®……S……Æ˙ EÚ“ ®……®…⁄±…“ J…§…Æ˙ §…x… M…™…… ΩË˛* ±…‰ EÚx… W…Æ˙… M…Ω˛Æ˙…<« ®…Â V……EÚÆ˙ ∫……‰S…Â i……‰ ®……±…⁄®… Ω˛…‰ V……BM……

131 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal i……W…… E÷Ú∂…, ∂…π™……Â ∫…‰ EÚ <∫… ∫…®…∫™…… E‰Ú ®…⁄±… ®…Â Ω˛®……Æ‰˙ u˘…Æ˙… EÚ™…… V……x…‰¥……±…… {…… Æ˙Œ∫l… i…EÚ ∂……‰π…h… Ω˛“ EÚ…®… EÚÆ˙ Æ˙Ω˛… ΩË˛* V…∆M…±…“ |……h…“™……Â E‰Ú ¥……∫…- °⁄Ú±… +…ËÆ˙ §…‰±…-{…j… ∫l……x……Â {…Æ˙ +x… v…EÚ…Æ˙ EÚ§V…… EÚÆ˙i…‰ Ω÷B Ω˛®… +{…x…“ ={…¶……‰M…¥……n˘“ ∫…¶™…i…… EÚ… S…i…÷Ãn˘EÚ ¥…∫i……Æ˙ ™… n˘ EÚÆ˙i…‰ ΩÈ˛ i……‰ V…∆M…±… E‰Ú J……‰n˘i…‰ ΩÈ˛ EÚxn˘®…⁄±… |……h…“ +{…x…“ +Œ∫®…i…… EÚ…‰ §…x……™…‰ Æ˙J…x…‰ E‰Ú ±…B |… i…EﬁÚi… Ω˛…ÂM…‰ Ω˛“, V……‰ ∫…Ω˛V… ∫¥……¶…… ¥…EÚ ¶…“ ΩË˛* {…Æ˙ EÚ…‰<« x…Ω˛” EÚΩ˛i…… ™…Ω˛ ÀΩ˛∫…… ΩË˛ <∫…E‰Ú +±……¥…… ±…EÚb˜Ω˛…Æ˙…Â EÚ… o˘∂™…, x……M…n‰˘¥…i…… EÚ“ {…⁄V……, ¥…x…¥…… ∫…™……Â EÚ… ¥…ﬁI…-{…⁄V…x…-=i∫…¥… +… n˘ +x…‰EÚ |…∫…∆M…… Â ®…Â ¶…“ Ω˛®… i……‰bÂ˜ BEÚ ]ıΩ˛x…“ ¶…“ {…… Æ˙Œ∫l… i…EÚ +¥…§……‰v… E‰Ú ∫…∆E‰Úi… ®…±…i…‰ ΩÈ˛* =n˘…:- i……‰ EÚΩ‰˛ V……i…‰ +{…Æ˙…v…“ C™…… EÚÆÂ˙ ... <∫… x™……™… EÚ… "{…‰b˜ Ω˛®……Æ‰˙ n‰˘¥…i…… ΩË˛ EÚ…Ëx… §…i……™…‰ <∫… §……i… EÚ…‰ ®……l…… x…¥……+…‰

131 132 Ecoaesthetics and Literature

21 ®…ﬁn÷˘±…… M…M…« EÚ“ EÚΩ˛… x…™……Â ®…Â {…… Æ˙Œ∫l… i…EÚ ∫……Èn˘™…«∂……∫j…*

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∫……Èn˘™…«∂……∫j… ∫…… Ω˛i™… EÚ… +…±……‰S…x……i®…EÚ +v™…™…x… ΩË˛* {…… Æ˙Œ∫l… i…EÚ ∫……Èn˘™…«∂……∫j… EÚ… ®…i…±…§… |…EfiÚ i… B¥…∆ ∫…∆∫EfiÚ i… E‰Ú §…“S… EÚ… +v™…™…x… ΩË˛* +…Ët…‰ M…EÚ |…M… i…, ={…¶……‰M…¥……n˘“ ∫…∆∫EfiÚ i… +… n˘ E‰Ú °Ú±…∫¥…∞¸{… ®…x…÷π™… |…EfiÚ i… ∫…‰ +±…M… Ω˛…‰EÚÆ˙ ™……∆ j…EÚ V…“¥…x… §…i…… Æ˙Ω˛… ΩË˛* <∫…E‰Ú °Ú±…∫¥…∞¸{… |…EfiÚ i… EÚ… x……∂… +…ËÆ˙ ∫……l… Ω˛“ ∫……l… Ω˛®……Æ˙… x……∂… ¶…“ Ω˛…‰ ÆΩ˛… ΩÈ˛* <∫…EÚ…‰ v™……x… ®…Â Æ˙J… EÚÆ˙ {……∂S……i™… ∫…… Ω˛i™… E‰Ú I…‰j… ®…Â {…… Æ˙Œ∫l… i…EÚ ∫……Èn˘™…«∂……∫j… (Eco-Criticism) EÚ“ ∂…÷Ø˚+…i… Ω÷˛<«* {…… Æ˙Œ∫l… i…EÚ ∫……Èn˘™…«∂……∫j… ®…Â {…™……«¥…Æ˙h…, |…EfiÚ i…, |…EfiÚ i… B¥…∆ ®…x…÷π™… E‰Ú §…“S… EÚ… ∫…Ω˛∫…∆§…∆v… +v™…™…x… EÚ… ¥…π…™… §…x…i…… ΩË˛* +…V… ∫……Æ˙… ¥…∑… <∫… {…™……«¥…Æ˙h… ∫…∆EÚ]ı ∫…‰ M…÷W…Æ˙ Æ˙Ω˛… ΩË˛* B‰∫…‰ +¥…∫…Æ˙ {…Æ˙ ∫…®…EÚ…±…“x… ∫…… Ω˛i™… ®…Â ¥… ¶…z… ∫…… Ω˛i™…EÚ…Æ˙ <∫… ¥…π…™… E‰Ú ®…Ω˛i¥… EÚ…‰ {…Ω˛S……x…EÚÆ˙, V……‰ {…™……«¥…Æ˙h… ∫…∆EÚ]ı Ω˛…‰ Æ˙Ω˛… ΩË˛ <∫…EÚ… |… i…Æ˙…‰v… +{…x…“ Æ˙S…x……+…Â E‰Ú V… Æ˙B V…… Ω˛Æ˙ EÚÆ˙i…‰ +… Æ˙Ω‰˛ ΩÈ˛* ®…x…÷π™… E‰Ú ∫…®……x… <∫… V…M…i… E‰Ú ∫…∆{…⁄h…« S…Æ˙ +S…Æ˙ EÚ… +{…x…… ®…Ω˛i¥…{…⁄h…« ∫l……x… ΩÈ˛* |…i™…‰EÚ ∫…k…… EÚ… ®…⁄±™… <∫… {…Æ˙ EÂÚ p˘i… x…Ω˛” ΩË˛ EÚ ™…Ω˛ ®…x…÷π™… E‰Ú ±…B ={…™……‰M…“ ΩË˛ ™…… x…Ω˛”* <∫… ∫…®……x…i…… EÚ“ +…‰Æ˙ |…∏…™… n‰˘x…‰¥……±…“ ®…fin÷˘±…… M…M…« EÚ“ EÚΩ˛…x…“ ΩË˛ " §…x……i…… ΩË˛ §…“V… UÙ”]ıi…‰ ¥…HÚ <∫…‰ EÚ…]ı- UÙ…]ı EÚÆ˙ V…±……¥…x… E‰Ú ±…B ±…EÚb˜“

133 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

¥…∫…∆M… i…, EÚÆ˙…Æ˙, 489)˙. "ƒS…‰ >ƒS…‰ Ω˛¥……<« ®…Ω˛±… §…x……™…‰ V…… Æ˙Ω‰˛ ΩË˛* i……‰c˜ °Ú…‰c˜ EÚ… ®…i…±…… {…‰c˜…Â EÚ“ V…b˜…Â ®…Â °ÂÚEÚ… V…… EÚΩ˛i…“ ΩË˛ - ""...{…Ën˘…¥……Æ˙ EÚ…‰ x…÷EÚ∫……x… x…Ω˛” {…Ω÷ƒ˛S…i…… §…Œ±EÚ V…“¥…x… EÚ…‰ +…ËÆ˙ ={…V……> §…x……i…… ΩË˛ §…“V… UÙ”]ıi…‰ ¥…HÚ <∫…‰ EÚ…]ı- Æ˙Ω˛… ΩË˛* ∫…b˜EÂÚ S……Ëb˜“ EÚ“ V…… Æ˙Ω˛“ ΩÈ˛* }±……<«+…‰¥…Æ˙ §…x… Æ˙Ω‰˛ ΩÈ˛* S……Ëb˜“ ∫…c˜EÚ…Â {…Æ˙ ∫E⁄Ú]ıÆ˙…Â, M…… c˜™……Â, ]≈ıEÚ…Â EÚ“ EÚi……Æ˙ {…Æ˙ UÙ…]ı EÚÆ˙ V…±……¥…x… E‰Ú ±…B ±…EÚb˜“

133 134 Ecoaesthetics and Literature

+…Ët…‰M…“EÚÆ˙h…, ¥…ËY…… x…EÚ ∫…∆∫EfiÚ i… +… n˘ E‰Ú S…∆M…÷±… ®…Â {…c˜ EÚÆ˙ {…∫…i…“ V…… Æ˙Ω˛“ ΩË˛* ∫…Æ˙EÚ…Æ˙ ¶…“ +{…x…“ ¥…EÚ…∫… ™……‰V…x……+…Â E‰Ú ±…B, x…™…‰ x…™…‰ EÚ…Æ˙J……x……Â E‰Ú ±…B V…M…Ω˛ f⁄ƒ¯f¯ Æ˙Ω˛“ ΩË˛* v…Æ˙i…“ x…Ω˛” ®…±…i…“ {…Æ˙ +…®… V…x…i…… EÚ“ ¶…⁄ ®… {…Æ˙ EÚ§V…… EÚÆ˙i…“ ΩË˛* ∫…∆{…z… ¥…M…« EÚ“ +…‰Æ˙ Ω˛…l… x…Ω˛” =`î…… ΩË˛* <∫… ±…B ±…‰ J…EÚ… EÚΩ˛i…“ ΩË˛ EÚ - ""∫…Æ˙EÚ…Æ˙ ∫…∆{…z…i…… EÚ… |… i… x… v… ΩË˛* Ω˛®… J…÷n˘ +{…x…‰ ={… x…¥…‰∂… ΩÈ˛*'' (∫…∆M… i…- ¥…∫…∆M… i…, EÚÆ˙…Æ˙, 494) +…Ën¬˘™……‰M…“EÚÆ˙h… E‰Ú °Ú±…∫¥…∞¸{… ®…EÚ…x……Â EÚ“ ∫…∆J™…… §…g¯ Æ˙Ω˛“ ΩË˛* <∫… ±…B EÚÆ˙…Æ˙ EÚΩ˛…x…“ E‰Ú S…ËÆ˙“ x……®…EÚ {……j… ¥™…∆M™… EÚÆ˙i…… ΩË˛ EÚ - ""{…CE‰Ú ®…EÚ…x… ∫…®…fi r˘ E‰Ú t…‰i…EÚ ΩÈ˛ x…?'' (∫…∆M… i…- ¥…∫…∆M… i…, EÚÆ˙…Æ˙, 493). "®…‰Æ‰˙ n‰˘∂… EÚ“ ®…]¬ı]ı“, +Ω˛…' x……®…EÚ EÚΩ˛…x…“ ®…Â ®…fin÷˘±…… V…“ x…‰ +…Ët…‰M…“EÚÆ˙h… +…ËÆ˙ <∫…E‰Ú °Ú±… ¶……‰M…x…‰¥……±…“ V…x…i…… EÚ… S…j…h… EÚ™…… ΩË˛* {…Ω˛±…‰ M……ƒ¥… EÚ“ W…®…“x… §…∆V……Æ˙ J……Æ˙ x…Ω˛” l…“* ∫…Æ˙EÚ…Æ˙ EÚ“ ®…‰Ω˛Æ˙§……x…“ ∫…‰ V……‰ x…Ω˛Æ˙ §…x……™…“ M…™…“ =∫…∫…‰ J……]ı EÚx……Æ˙…Â EÚ“ i…Æ˙°Ú ¶……M… +…ËÆ˙ J…‰i……Â ®…Â §…∫… M…™……* W…®…“x… >∫…Æ˙ Ω˛…‰x…‰ {…Æ˙ EÚ∫……x……Â EÚ…‰ {…il…Æ˙ Æ˙…‰c˜“ EÚ“ J…n˘…x……Â ®…Â EÚ…®… EÚÆ˙x…‰ V……x…… {…c˜…* i…{…‰ n˘EÚ ∫…‰ ¥…‰ j…∫i… Ω˛…‰ M…™…‰* {…il…Æ˙ Æ˙…‰c˜“ J…n˘…x……Â EÚ“ v…÷+…ƒ ∫…‰ ®…±…“ À∫…EÚ, •……∆EÚ +… n˘ <∫…EÚ… EÚ…Æ˙h… l……* ±…±±…“ x……®…EÚ BEÚ {……j… ™…Ω˛ ∫…§… ∫…®…Z…EÚÆ˙ EÚ…Æ˙J……x…… §…∆n˘ EÚÆ˙x…‰ E‰Ú ±…B {… Æ˙∏…®… EÚÆ˙i…“ ΩË˛* +∆i… ®…Â EÚ…Æ˙J……x…… §…∆n˘ Ω˛…‰ V……i…… ΩË˛* ™…Ω˛…ƒ ∫j…“ u˘…Æ˙… |…EfiÚ i… +…ËÆ˙ ®……x…¥… EÚ“ Æ˙I…… Ω˛…‰i…“ ΩË˛* <∫… ±…B <∫… EÚΩ˛…x…“ ®…Â

135 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

+…Ët…‰M…“EÚÆ˙h…, ¥…ËY…… x…EÚ ∫…∆∫EfiÚ i… +… n˘ E‰Ú S…∆M…÷±… ®…Â {…c˜ EÚÆ˙ {…∫…i…“ V…… Æ˙Ω˛“ ΩË˛* ∫…Æ˙EÚ…Æ˙ ¶…“ +{…x…“ ¥…EÚ…∫… ™……‰V…x……+…Â E‰Ú¥…±… V…x®… +…ËÆ˙ ®…fii™…÷ x…, Æ˙S…x…… EÚ… |…∫°÷Ú]ıx… EËÚ∫…‰ Ω˛…‰M……, EÚΩ˛…ƒ ∫…‰ +…™…‰M…“ ±…™…, i……±…, =∫…EÚ… ¶……¥… ∫…∆¥…‰M…, =∫…EÚ… S…Æ˙®… E‰Ú ±…B, x…™…‰ x…™…‰ EÚ…Æ˙J……x……Â E‰Ú ±…B V…M…Ω˛ f⁄ƒ¯f¯ Æ˙Ω˛“ ΩË˛* v…Æ˙i…“ x…Ω˛” ®…±…i…“ {…Æ˙ +…®… V…x…i…… EÚ“ ¶…⁄ ®… {…Æ˙ EÚ§V…… EÚÆ˙i…“ ΩË˛* +…Ω˛±……n˘'' (∫…∆M… i…- ¥…∫…∆M… i…, ¥…x……∂… n⁄˘i…, 473) ®…i…±…§… ®…‰P… x…Ω˛” ΩË˛ i……‰ ∫……Æ˙“ v…Æ˙i…“ ∫…⁄J… V……™…‰M…“* +…M…‰ V…“¥…x… EÚ… =n˘™… ∫…∆{…z… ¥…M…« EÚ“ +…‰Æ˙ Ω˛…l… x…Ω˛” =`î…… ΩË˛* <∫… ±…B ±…‰ J…EÚ… EÚΩ˛i…“ ΩË˛ EÚ - ""∫…Æ˙EÚ…Æ˙ ∫…∆{…z…i…… EÚ… |… i… x… v… ΩË˛* Ω˛®… J…÷n˘ +{…x…‰ x…Ω˛” Ω˛…‰M……* B‰∫…“ ∫…÷∆n˘Æ˙ |…EfiÚ i… x…Ω˛” ΩË˛ i……‰ Æ˙S…x…… ®…Â i……±…-®…‰±…, ¶……¥…… ¶…¥™… HÚ +…ËÆ˙ +…x…∆n˘ ±……x…… ®…÷Œ∂EÚ±… Ω˛…‰ V……i…“ ΩË˛* ={… x…¥…‰∂… ΩÈ˛*'' (∫…∆M… i…- ¥…∫…∆M… i…, EÚÆ˙…Æ˙, 494) +…Ën¬˘™……‰M…“EÚÆ˙h… E‰Ú °Ú±…∫¥…∞¸{… ®…EÚ…x……Â EÚ“ ∫…∆J™…… §…g¯ Æ˙Ω˛“ ΩË˛* <∫… ±…B "§…°«Ú §…x…“ §…… Æ˙∂…' ®…Â ¶…“ ±…‰ J…EÚ… x…‰ <∫… ¥…π…™… EÚ“ S…S……« EÚ“ ΩË˛* <∫…EÚ… EÂÚp˘{……j… +®…Æ˙x……l… |…EfiÚ i… ∫…‰ {™……Æ˙ EÚÆ˙i…… EÚÆ˙…Æ˙ EÚΩ˛…x…“ E‰Ú S…ËÆ˙“ x……®…EÚ {……j… ¥™…∆M™… EÚÆ˙i…… ΩË˛ EÚ - ""{…CE‰Ú ®…EÚ…x… ∫…®…fi r˘ E‰Ú t…‰i…EÚ ΩÈ˛ x…?'' (∫…∆M… i…- ¥…∫…∆M… i…, EÚÆ˙…Æ˙, l……* Ω˛Æ‰˙-¶…Æ‰˙ {…‰c˜, S…Ω˛S…Ω˛…i…“ S… c˜™……ƒ +… n˘ ∫…§…∫…‰ ¥…Ω˛ {™……Æ˙ EÚÆ˙i…… l……* §…… Æ˙∂… ®…Â ¶…“M…x…… ¥…Ω˛ {…∆∫…n˘ EÚÆ˙i…… l……* ¥…Ω˛ {…ix…“ 493). ∫…‰ EÚΩ˛i…… ΩË˛ EÚ- "+Æ‰˙ EÚ“S…c˜ EÚ… C™…… ΩË˛, ®…]¬ı]ı“ ΩË˛ x…? <∫…“ ®…]¬ı]ı“ ∫…‰ §…x…‰ ΩË˛ Ω˛®… ¶…“*'' (∫…∆M… i…- ¥…∫…∆M…i…“, §…°«Ú §…x…“ "®…‰Æ‰˙ n‰˘∂… EÚ“ ®…]¬ı]ı“, +Ω˛…' x……®…EÚ EÚΩ˛…x…“ ®…Â ®…fin÷˘±…… V…“ x…‰ +…Ët…‰M…“EÚÆ˙h… +…ËÆ˙ <∫…E‰Ú °Ú±… ¶……‰M…x…‰¥……±…“ V…x…i…… EÚ… §…… Æ˙∂…, 580) ±…‰ EÚx… ¥…Ω˛ {…Ë∫…… EÚ®……x…‰ E‰Ú ±…B ¶……Æ˙i… EÚ…‰ UÙ…‰c˜EÚÆ˙ +®…‰ Æ˙EÚ… V……i…… ΩË˛* +®…‰ Æ˙EÚ… ¥…ËY…… x…EÚ n÷˘ x…™…… ΩË˛* S…j…h… EÚ™…… ΩË˛* {…Ω˛±…‰ M……ƒ¥… EÚ“ W…®…“x… §…∆V……Æ˙ J……Æ˙ x…Ω˛” l…“* ∫…Æ˙EÚ…Æ˙ EÚ“ ®…‰Ω˛Æ˙§……x…“ ∫…‰ V……‰ x…Ω˛Æ˙ §…x……™…“ M…™…“ =∫…∫…‰ J……]ı =∫…E‰Ú ∫……l… §…SS…‰ Ω˛…‰i…‰ Ω÷˛B ¶…“ +E‰Ú±……{…x… ®…Ω˛∫…⁄∫… EÚÆ˙i…… ΩË˛* ¥…Ω˛…ƒ ∫…°«Ú §…°«Ú Ω˛“ ΩË˛* ®…i…±…§… EÚ…‰<« M… i… x…Ω˛”* ¥…Ω˛ {…ix…“ EÚ…‰ EÚx……Æ˙…Â EÚ“ i…Æ˙°Ú ¶……M… +…ËÆ˙ J…‰i……Â ®…Â §…∫… M…™……* W…®…“x… >∫…Æ˙ Ω˛…‰x…‰ {…Æ˙ EÚ∫……x……Â EÚ…‰ {…il…Æ˙ Æ˙…‰c˜“ EÚ“ J…n˘…x……Â ®…Â EÚ…®… EÚÆ˙x…‰ §…÷±……i…… ΩË˛* {…ix…“ {…Ω˛±…‰ +…x…‰ E‰Ú ±…B i…Ë™……Æ˙ x…Ω˛” l…“* UÙ…‰]‰ı §…SS…‰ E‰Ú ¥…n‰˘∂… V……x…‰ E‰Ú §……n˘ ¥…Ω˛ ¶…“ §…±…E÷Ú±… +E‰Ú±…“ Ω˛…‰ M…™…“ V……x…… {…c˜…* i…{…‰ n˘EÚ ∫…‰ ¥…‰ j…∫i… Ω˛…‰ M…™…‰* {…il…Æ˙ Æ˙…‰c˜“ J…n˘…x……Â EÚ“ v…÷+…ƒ ∫…‰ ®…±…“ À∫…EÚ, •……∆EÚ +… n˘ <∫…EÚ… EÚ…Æ˙h… l……* l…“* =∫… +E‰Ú±……{…x… ∫…‰ ®…÷HÚ“ E‰Ú ±…B ¥…Ω˛ |…EfiÚ i… EÚ“ +…‰Æ˙ n‰˘J…i…“ ΩË˛ - ""§…SS…‰ §…c‰˜ Ω˛…‰ M…™…‰ ΩË˛* +§… Ω˛®…∫…‰ E÷ÚUÙ x…Ω˛” S……Ω˛i…‰* ±…±±…“ x……®…EÚ BEÚ {……j… ™…Ω˛ ∫…§… ∫…®…Z…EÚÆ˙ EÚ…Æ˙J……x…… §…∆n˘ EÚÆ˙x…‰ E‰Ú ±…B {… Æ˙∏…®… EÚÆ˙i…“ ΩË˛* +∆i… ®…Â EÚ…Æ˙J……x…… §…∆n˘ Ω˛…‰ V……i…… BEÚ§……Æ˙ °ÚÆ˙ S…÷x…x…‰ EÚ“ ∫¥…i…∆j…i…… ®…±…“ ΩÈ˛ Ω˛®…Â* ®…÷Z…‰ S……ƒn˘ EÚ… +SUÙ“ i…Æ˙Ω˛ n‰˘J…x…‰ E‰Ú ±…B ¥…Ω˛ UÙVV…‰ {…Æ˙ +…M…‰ EÚ…‰ ±…]ıEÚ ΩË˛* ™…Ω˛…ƒ ∫j…“ u˘…Æ˙… |…EfiÚ i… +…ËÆ˙ ®……x…¥… EÚ“ Æ˙I…… Ω˛…‰i…“ ΩË˛* <∫… ±…B <∫… EÚΩ˛…x…“ ®…Â

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Ω˛…‰i…… ΩË˛* <∫… ±…B EÚÆ˙…Æ˙ EÚΩ˛…x…“ E‰Ú S…ËÆ˙“ x……®…EÚ {……j… EÚΩ˛i…“ ΩË˛ EÚ - ™…Ω˛…ƒ n˘…‰x……Â §…S……™…‰ V…… ∫…EÚi…‰ ΩÈ˛, {…‰c˜ +…ËÆ˙ =x…E‰Ú n⁄˘i…* (∫…∆M… i…- ¥…∫…∆M… i…, EÚÆ˙…Æ˙, 496) {…™……«¥…Æ˙h… ∫…∆EÚ]ı ∫…‰ M…÷W…Æ˙x…‰¥……±…… +…V… EÚ… ∫…®……V… {…™……«¥…Æ˙h… EÚ… ®…Ω˛i¥… ∫…®…Z… Æ˙Ω˛… ΩË˛* <∫… ±…B ®…ﬁn÷˘±…… V…“ "

∫…∆n˘¶…« O…∆l… ∫…∆M… i…- ¥…∫…∆M… i… - ®…ﬁn÷˘±…… M…M…« ∫…… Ω˛i™… EÚ… {…… Æ˙Œ∫l… i…EÚ n˘∂…«x… - b˜…Ï. E‰Ú. ¥…x…V……

137 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

∫…∆n˘¶…« O…∆l… ∫…®…EÚ…±…“x… ¶……Æ˙i… {…… Æ˙Œ∫l… i…EÚ ∫…∆EÚ]ı EÚ“ ¶…“π…h… Œ∫l… i…™……Â ∫…‰ M…÷W…Æ˙ Æ˙Ω˛… ΩË˛ V…∫…®…Â +…Ët…‰ M…EÚ ¥…EÚ…∫… E‰Ú x……®… {…Æ˙ ∫…∆M… i…- ¥…∫…∆M… i… - ®…ﬁn÷˘±…… M…M…« ™…Ω˛…ƒ V…c‰˜ V…®……™…‰ §…Ω÷˛Æ˙…π]≈ı“™… x…M…®……Â EÚ… §…c˜… Ω˛…l… ΩË˛*

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<∫… j……∫…n˘“ EÚ… °Ú±®……∆EÚx… ®…Ω‰˛∂… ®…l……<« E‰Ú x…nÊ˘∂…x… ®…Â Ω÷˛+… l……* "¶……‰{……±… BC∫…|…‰∫…' EÚ“ {…]ıEÚl…… {…“™…⁄π… {……∆b‰˜ +…ËÆ˙ |…∫…⁄x… {……∆b‰˜ x…‰ ®…±…EÚÆ˙ ±…J…“ +…ËÆ˙ n˘“{…EÚ x……™…Æ˙ <∫…E‰Ú x…®……«i…… Æ˙Ω‰˛* + ¶…x…‰i…… E‰Ú ∞¸{… ®…Â x…∫…“Ø˚q˘“x… ∂……, E‰Ú. E‰Ú. ®…‰x…x…, x…‰j…… Æ˙P…÷Æ˙…®…x…, ¥…V…™… Æ˙…V…, Ω˛®……™…k…÷±±…… J……x… +…ËÆ˙ ∫…“x…i… +®…x… x…‰ |…®…÷J… ¶…⁄ ®…EÚ… x…¶……<«* °Ú±®… BEÚ o˘∂™… ®……v™…®… ΩË˛ V…∫…®…Â o˘∂™……Â EÚ… ®…Ω˛i¥…{…⁄h…« ∫l……x… ΩË˛* "¶……‰{……±… BC∫…|…‰∫…' B‰∫…‰ o˘∂™……Â ∫…‰ ¶…Æ˙… Ω÷˛+… ΩË˛, V…x…®…Â §……§…⁄±……±… ¥…®……« +…ËÆ˙ i……Æ˙… EÚ“ |…‰®… EÚΩ˛…x…“ ∫…‰ ±…‰EÚÆ˙ M…Ë∫… j……∫…n˘“ E‰Ú n˘…Ø˚h… o˘∂™……Â i…EÚ EÚ… +∆EÚx… ®……Ã®…EÚ f∆¯M… ∫…‰ Ω÷˛+… ΩË˛* °Ú±®… EÚ… ®…÷J™… {……j… ΩË˛ §……§…⁄±……±… ¥…®……« =°«Ú ¥…®……« (E‰Ú.E‰Ú.®…‰x…x…) V……‰ ™…⁄ x…™…x… EÚ…§……«

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<∫… j……∫…n˘“ EÚ… °Ú±®……∆EÚx… ®…Ω‰˛∂… ®…l……<« E‰Ú x…nÊ˘∂…x… ®…Â Ω÷˛+… l……* "¶……‰{……±… BC∫…|…‰∫…' EÚ“ {…]ıEÚl…… {…“™…⁄π… {……∆b‰˜ +…ËÆ˙ ¥…®……« n˘¥…… E‰Ú §……Æ‰˙ ®…Â V……x…x…‰ E‰Ú ±…B ¥…Ω˛…ƒ +…i…… ΩË˛* =∫… ∫…®…™… EÚ…Æ˙J……x…‰ E‰Ú §……Ω˛Æ˙ °Ú…]ıEÚ {…Æ˙ EÚ<« ±……‰M… n÷˘P…«]ıx…… ∫…‰ =k…‰ V…i… |…∫…⁄x… {……∆b‰˜ x…‰ ®…±…EÚÆ˙ ±…J…“ +…ËÆ˙ n˘“{…EÚ x……™…Æ˙ <∫…E‰Ú x…®……«i…… Æ˙Ω‰˛* + ¶…x…‰i…… E‰Ú ∞¸{… ®…Â x…∫…“Ø˚q˘“x… ∂……, E‰Ú. E‰Ú. ®…‰x…x…, x…‰j…… Ω˛…‰EÚÆ˙ °ËÚC]ıÆ˙“ V…±……x…‰ {…Æ˙ +…®……n˘… n˘J……<« n˘B* ¥…®……« EÚ…‰ ¥…Ω˛…ƒ EÚ… EÚ®…«S……Æ˙“ ∫…®…Z…EÚÆ˙ =∫…E‰Ú ∫……l… ®……Æ˙-{…“]ı Ω˛…‰i…“ ΩË˛ +…ËÆ˙ Æ˙P…÷Æ˙…®…x…, ¥…V…™… Æ˙…V…, Ω˛®……™…k…÷±±…… J……x… +…ËÆ˙ ∫…“x…i… +®…x… x…‰ |…®…÷J… ¶…⁄ ®…EÚ… x…¶……<«* ¥…Ω˛ M…Æ˙ V……i…… ΩË˛* i…¶…“ °ËÚC]ıÆ˙“ ∫…‰ ]ÈıEÚ x…∆§…Æ˙ 610 ∫…‰ °ÚÆ˙ ∫…‰ Æ˙∫……¥… Ω˛…‰x…‰ +…ËÆ˙ ¶……M…x…‰ EÚ“ P……‰π…h…… n˘“ V……i…“ ΩË˛* ±……‰M… b˜Æ˙ °Ú±®… BEÚ o˘∂™… ®……v™…®… ΩË˛ V…∫…®…Â o˘∂™……Â EÚ… ®…Ω˛i¥…{…⁄h…« ∫l……x… ΩË˛* "¶……‰{……±… BC∫…|…‰∫…' B‰∫…‰ o˘∂™……Â ∫…‰ ¶…Æ˙… Ω÷˛+… ΩË˛, E‰Ú ®……Æ‰˙ ¶……M… V……i…‰ ΩÈ˛* ¥…®……« n˘“¥……Æ˙ ±……ƒP…EÚÆ˙ =SS… {…n˘… v…EÚ… Æ˙™……Â E‰Ú {……∫… {…Ω÷ƒ˛S… V……i…… ΩË˛* i…§… ®…Ëx…‰V…Æ˙ +®…‰ Æ˙EÚ… E‰Ú ®…… ±…EÚ V…x…®…Â §……§…⁄±……±… ¥…®……« +…ËÆ˙ i……Æ˙… EÚ“ |…‰®… EÚΩ˛…x…“ ∫…‰ ±…‰EÚÆ˙ M…Ë∫… j……∫…n˘“ E‰Ú n˘…Ø˚h… o˘∂™……Â i…EÚ EÚ… +∆EÚx… ®……Ã®…EÚ f∆¯M… ∫…‰ Ω÷˛+… EÚ…‰ °Ú…‰x… {…Æ˙ §……i… EÚÆ˙ Æ˙Ω˛… l…… - ""+…< b˜™…… ∫…C∫…∫… ∫…Æ˙* +…<« ]ı…‰±]ı n˘®… +…Ïx… n˘ {…Œ§±…EÚ +b≈‰˜∫… ∫…∫]‰ı®… ∫…Æ˙* n‰˘ Ω‰˛¥… Æ˙x… ΩË˛* °Ú±®… EÚ… ®…÷J™… {……j… ΩË˛ §……§…⁄±……±… ¥…®……« =°«Ú ¥…®……« (E‰Ú.E‰Ú.®…‰x…x…) V……‰ ™…⁄ x…™…x… EÚ…§……«

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EÚ“ ΩË˛Æ˙…x…“, =n˘…∫…“, ¶……M…-n˘…Ëc˜ +…ËÆ˙ ¶…“π…h… o˘∂™……Â ∫…‰ ¥…Ω˛ §…‰Ω˛n˘ {…“ c˜i… l……* n˘…‰x……Â §……Ω˛Æ˙ +…i…‰ ΩÈ˛ i……‰ =x…EÚ“ o˘Œπ]ı BEÚ EÚ…Ø˚ h…EÚ o˘∂™… {…Æ˙ V……i…“ ΩË˛* ∫]‰ı∂…x… {…Æ˙ {…c˜“ ±……∂……Â E‰Ú §…“S… +{…x…“ ®…ﬁi… ®……ƒ EÚ“ UÙ…i…“ ∫…‰ ∫…]ı EÚÆ˙ BEÚ §…SS…… Æ˙…‰ Æ˙Ω˛… l……* ¥…Ω˛ §…SS…‰ EÚ…‰ =`ˆ…i…… ΩË˛ +…ËÆ˙ =∫…‰ §…∂…“Æ˙ x……®… n‰˘EÚÆ˙ n˘…‰x……Â +{…x…‰ ∫……l… ±…‰ V……i…‰ ΩÈ˛* ¶……‰{……±… BC∫…|…‰∫… E‰Ú ™…… j…™……Â EÚ“ j……∫…n˘“ EÚ…‰ n˘J……i…‰ Ω÷˛B x…nÊ˘∂…EÚ x…‰ ∫…Æ˙EÚ…Æ˙“ i…∆j… EÚ“ +I…®…i…… B¥…∆ =n˘…∫…“x…i…… {…Æ˙ ∫…∆E‰Úi… EÚ™…… ΩË˛* °Ú±®… E‰Ú +∆i… ®…Â ¶……‰{……±… M…Ë∫… j……∫…n˘“ EÚ“ ¥……∫i… ¥…EÚ i…∫¥…“ÆÂ˙ ¶…“ n÷˘P…«]ıx…… ∫…∆§…∆v…“ ±… J…i… Æ˙{…]ı…Â E‰Ú ∫……l… n˘“ M…<« ΩÈ˛ V…x…∫…‰ n˘∂…«EÚ ∫…SS…“ §……i……Â ∫…‰ +¥…M…i… Ω˛…‰i…‰ ΩÈ˛* {…… Æ˙Œ∫l… i…EÚ ∫…∆EÚ]ı EÚ“ ∫…®…∫™…… ¶……Æ˙i… E‰Ú ∫……®…x…‰ M…∆¶…“Æ˙ §…x…“ Ω÷˛<« ΩË˛* {…™……«¥…Æ˙h… E‰Ú |… i… x…ŒπGÚ™… Æ˙Ω˛x…‰ ∫…‰ Ω˛…‰x…‰ ¥……±…‰ ¶…™……x…EÚ {… Æ˙h……®……Â {…Æ˙ ±……‰M……Â EÚ… v™……x… +…EÚÃπ…i… EÚÆ˙i…‰ Ω÷˛B =∫…E‰Ú |… i… ±……‰M……Â EÚ…‰ ∫…V…M… §…x……x…‰ ®…Â °Ú±®… ®……v™…®… §…Ω÷˛i… ∫…I…®… ΩË˛* ¶……‰{……±… M…Ë∫… j……∫…n˘“ E‰Ú n÷˘π{… Æ˙h……®… ¥…Ω˛…ƒ E‰Ú ±……‰M… i…“∫… ∫……±……Â ∫…‰ ¶…÷M…i… Æ˙Ω‰˛ ΩÈ˛* EÚ…Æ˙J……x……Â ∫…‰ Ω˛…‰x…‰ ¥……±…‰ ¥……™…÷-V…±…- ®…]¬ı]ı“ |…n⁄˘π…h… ∫…‰ ¶……Æ˙i… EÚ… {…™……«¥…Æ˙h… ¶…Æ˙ M…™…… ΩË˛* S……Ω‰˛ {±……ŒSS…®…]ı… EÚ“ EÚ…‰EÚ…‰ EÚ…‰±…… °ËÚC]ıÆ˙“√ ∫…‰ =i{…z… ∫…®…∫™……Bƒ Ω˛…Â ™…… EÚ…∫…Æ˙M……‰c˜ ®…Â B∆b˜…‰∫…±°Ú…x… E‰Ú ∂…EÚ…Æ˙ ±……‰M……Â EÚ“ §…‰§…∫…“ Ω˛…‰ B‰∫…“ n÷˘P…«]ıx……Bƒ ®……x…¥… E‰Ú +Œ∫i…i¥… {…Æ˙ |…∂x… S…ºx… b˜…±…x…‰ ¥……±…“ ΩÈ˛* "¶……‰{……±… BC∫…|…‰∫…' °Ú±®… ¶……‰{……±… M…Ë∫… j……∫…n˘“ EÚ…‰ EÚ…±{… x…EÚ {……j……Â E‰Ú W… Æ˙B ®……Ã®…EÚ o˘∂™……Â ®…Â +∆ EÚi… EÚÆ˙i…‰ Ω÷˛B =∫… j……∫…n˘“ EÚ“ ™……n˘ n˘±……x…‰ E‰Ú ∫……l…-∫……l… ±……‰M……Â EÚ…‰ B∫…“ n÷˘P…«]ıx……+…Â E‰Ú |… i… V……O…i… ¶…“ EÚÆ˙i…“ ΩË˛* x…nÊ˘∂…EÚ ®…Ω‰˛∂… ®…l……<« <∫…®…Â EÚ…°Ú“ ∫…°Ú±… Ω÷˛B ΩÈ˛* ∫……l… Ω˛“ ∫……l… ®…÷x……°Ú…J……‰Æ˙ §…Ω÷˛Æ˙…π]≈ı“™… x…M…®……Â EÚ… Æ˙…I…∫…“ S… Æ˙j… ¶…“ <∫…®…Â J…÷±… M…™…… ΩË˛* ¥…‰ ™…Ω˛…ƒ E‰Ú {…™……«¥…Æ˙h… EÚ…‰ |…n⁄˘ π…i… EÚÆ˙i…‰ Ω÷˛B +E⁄Úi… ±……¶… EÚ®…… Æ˙Ω‰˛ ΩÈ˛* =x…E‰Ú ±…B i…“∫…Æ˙“ n÷˘ x…™…… E‰Ú ±……‰M……Â EÚ“ V……x… EÚ… EÚ…‰<« ®…⁄±™… Ω˛“ x…Ω˛”*

141 Ecoaesthetics and Literature ètude - A Multidisciplinary Research Journal

EÚ“ ΩË˛Æ˙…x…“, =n˘…∫…“, ¶……M…-n˘…Ëc˜ +…ËÆ˙ ¶…“π…h… o˘∂™……Â ∫…‰ ¥…Ω˛ §…‰Ω˛n˘ {…“ c˜i… l……* n˘…‰x……Â §……Ω˛Æ˙ +…i…‰ ΩÈ˛ i……‰ =x…EÚ“ o˘Œπ]ı BEÚ Author Profile EÚ…Ø˚ h…EÚ o˘∂™… {…Æ˙ V……i…“ ΩË˛* ∫]‰ı∂…x… {…Æ˙ {…c˜“ ±……∂……Â E‰Ú §…“S… +{…x…“ ®…ﬁi… ®……ƒ EÚ“ UÙ…i…“ ∫…‰ ∫…]ı EÚÆ˙ BEÚ §…SS…… Æ˙…‰ Æ˙Ω˛… l……* ¥…Ω˛ §…SS…‰ EÚ…‰ =`ˆ…i…… ΩË˛ +…ËÆ˙ =∫…‰ §…∂…“Æ˙ x……®… n‰˘EÚÆ˙ n˘…‰x……Â +{…x…‰ ∫……l… ±…‰ V……i…‰ ΩÈ˛* ¶……‰{……±… BC∫…|…‰∫… E‰Ú ™…… j…™……Â EÚ“ j……∫…n˘“ 1. Ambikasuthan Mangad, Dr. Associate Professor, Dept. of Malayalam, Nehru Arts & Science College, Kanhangad EÚ…‰ n˘J……i…‰ Ω÷˛B x…nÊ˘∂…EÚ x…‰ ∫…Æ˙EÚ…Æ˙“ i…∆j… EÚ“ +I…®…i…… B¥…∆ =n˘…∫…“x…i…… {…Æ˙ ∫…∆E‰Úi… EÚ™…… ΩË˛* °Ú±®… E‰Ú +∆i… ®…Â ¶……‰{……±… M…Ë∫… 2. Anoop Antony Asst. Professor, Dept. of Malayalam, Malabar Christian College, j……∫…n˘“ EÚ“ ¥……∫i… ¥…EÚ i…∫¥…“ÆÂ˙ ¶…“ n÷˘P…«]ıx…… ∫…∆§…∆v…“ ±… J…i… Æ˙{…]ı…Â E‰Ú ∫……l… n˘“ M…<« ΩÈ˛ V…x…∫…‰ n˘∂…«EÚ ∫…SS…“ §……i……Â ∫…‰ +¥…M…i… Ω˛…‰i…‰ Calicut - 1 ΩÈ˛* 3. Darly Mathew Asst. Professor, Dept. of English, Sacred Heart College, Chalakudy {…… Æ˙Œ∫l… i…EÚ ∫…∆EÚ]ı EÚ“ ∫…®…∫™…… ¶……Æ˙i… E‰Ú ∫……®…x…‰ M…∆¶…“Æ˙ §…x…“ Ω÷˛<« ΩË˛* {…™……«¥…Æ˙h… E‰Ú |… i… x…ŒπGÚ™… Æ˙Ω˛x…‰ ∫…‰ Ω˛…‰x…‰ ¥……±…‰ 4. Geetha P., Dr. Associate Professor, Dept. of Hindi, Sree Vyasa NSS College, ¶…™……x…EÚ {… Æ˙h……®……Â {…Æ˙ ±……‰M……Â EÚ… v™……x… +…EÚÃπ…i… EÚÆ˙i…‰ Ω÷˛B =∫…E‰Ú |… i… ±……‰M……Â EÚ…‰ ∫…V…M… §…x……x…‰ ®…Â °Ú±®… ®……v™…®… §…Ω÷˛i… Vadakkanchery ∫…I…®… ΩË˛* ¶……‰{……±… M…Ë∫… j……∫…n˘“ E‰Ú n÷˘π{… Æ˙h……®… ¥…Ω˛…ƒ E‰Ú ±……‰M… i…“∫… ∫……±……Â ∫…‰ ¶…÷M…i… Æ˙Ω‰˛ ΩÈ˛* EÚ…Æ˙J……x……Â ∫…‰ Ω˛…‰x…‰ ¥……±…‰ ¥……™…÷-V…±…- 5. Geons Jose Guest Lecturer in Malayalam, Govt. Art & Science College, Ollur ®…]¬ı]ı“ |…n⁄˘π…h… ∫…‰ ¶……Æ˙i… EÚ… {…™……«¥…Æ˙h… ¶…Æ˙ M…™…… ΩË˛* S……Ω‰˛ {±……ŒSS…®…]ı… EÚ“ EÚ…‰EÚ…‰ EÚ…‰±…… °ËÚC]ıÆ˙“√ ∫…‰ =i{…z… ∫…®…∫™……Bƒ Ω˛…Â ™…… 6. Hema Narayanan Research Scholar, Dept. of Hindi, Cochin University, Cochin EÚ…∫…Æ˙M……‰c˜ ®…Â B∆b˜…‰∫…±°Ú…x… E‰Ú ∂…EÚ…Æ˙ ±……‰M……Â EÚ“ §…‰§…∫…“ Ω˛…‰ B‰∫…“ n÷˘P…«]ıx……Bƒ ®……x…¥… E‰Ú +Œ∫i…i¥… {…Æ˙ |…∂x… S…ºx… b˜…±…x…‰ ¥……±…“ 7. Ibrahimkutty Asst. Professor, Dept. of Hindi, Sree Sankaracharya University of ΩÈ˛* "¶……‰{……±… BC∫…|…‰∫…' °Ú±®… ¶……‰{……±… M…Ë∫… j……∫…n˘“ EÚ…‰ EÚ…±{… x…EÚ {……j……Â E‰Ú W… Æ˙B ®……Ã®…EÚ o˘∂™……Â ®…Â +∆ EÚi… EÚÆ˙i…‰ Ω÷˛B =∫… Sanskrit, Kalady j……∫…n˘“ EÚ“ ™……n˘ n˘±……x…‰ E‰Ú ∫……l…-∫……l… ±……‰M……Â EÚ…‰ B∫…“ n÷˘P…«]ıx……+…Â E‰Ú |… i… V……O…i… ¶…“ EÚÆ˙i…“ ΩË˛* x…nÊ˘∂…EÚ ®…Ω‰˛∂… ®…l……<« <∫…®…Â 8. Krupa Guest Lecturer in English, Govt. Art & Science College, Ollur EÚ…°Ú“ ∫…°Ú±… Ω÷˛B ΩÈ˛* ∫……l… Ω˛“ ∫……l… ®…÷x……°Ú…J……‰Æ˙ §…Ω÷˛Æ˙…π]≈ı“™… x…M…®……Â EÚ… Æ˙…I…∫…“ S… Æ˙j… ¶…“ <∫…®…Â J…÷±… M…™…… ΩË˛* ¥…‰ ™…Ω˛…ƒ E‰Ú 9. Leena Samuel, Dr. Asst. Professor, Dept. of Hindi, Panampilly Memorial {…™……«¥…Æ˙h… EÚ…‰ |…n⁄˘ π…i… EÚÆ˙i…‰ Ω÷˛B +E⁄Úi… ±……¶… EÚ®…… Æ˙Ω‰˛ ΩÈ˛* =x…E‰Ú ±…B i…“∫…Æ˙“ n÷˘ x…™…… E‰Ú ±……‰M……Â EÚ“ V……x… EÚ… EÚ…‰<« ®…⁄±™… Ω˛“ Government College, Chalakudy x…Ω˛”* Manju V. S. Research Scholar, Dept. of Hindi, Sree Sankaracharya University of Sanskrit, Kalady +…ËÆ˙ |……∫…∆ EÚM…i…… ¶…“* 11. Mary Reema Research Scholar, Dept. of Malayalam, Sree Sankaracharya Uni- versity of Sanskrit, Kalady 12. Muralidharan V. Editor, Koodu Monthly Magazine, Koratty P.O., Thrissur 13. Murukan Babu C. R. Associate Professor, Dept. of English, Panampilly Memorial Government College, Chalakudy. 14. Niji C. I. Asst. Professor, Dept. of English, Maharajas College, Ernakulam 15. Parvathy B., Dr. Associate Professor, Dept. of Malayalam, Panampilly Memorial Government College, Chalakudy 16. Prakash Babu P. V., Dr. Asst. Professor, Dept. of Malayalam, Sree Vivekananda College, Kunnamkulam 17. Prathibha V., Dr. Associate Professor, Dept. of English, University of Calicut, Calicut University P.O., Malappuram Dist 18. Praseetha K. Guest Lecturer, Centre for Comparative Literature, Sree Sankaracharya University of Sanskrit, Kalady

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19. Priya A., Dr. Asst. Professor, Dept. of Hindi, K.G. College, Pampadi, Kottayam 20. Reenakumary V. L., Dr. Asst. Professor, Post Graduate Dept of Hindi and Research Cen- tre, Govt. Brannan College, Thalassery, Kannur Dist. 21. Seeja H. Asst. Professor, Dept. of English, Sree Neelakanta Govt. Sanskrit College, Pattambi 22. Sheeba C. V. Asst. Professor, Dept of Malayalam, St. Thomas College, Thrissur. 23. Shinta G. Nellai Asst. Professor, Dept of Malayalam, Prajyoti Niketan College, Pudukad. 24. Sreerekha N., Dr. Asst. Professor, Dept of English, Panampilly Memorial Government College, Chalakudy 25. Sreevalsa V.G., Dr. Principal, Panampilly Memorial Government College, Chalakudy 26. Suja T. V. Asst. Professor, Dept. of English, KKTM Government College, Pullut 27. Unnikrishnan E., Dr. Sathavari, Kandoth P.O., Payyannur 28. Vijayakumar B., Dr. Asst. Professor, Dept. of Hindi, Govt. College, Chelakkara, Thrissur Dist.

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